Every festival is a great opportunity to meet new bands, or to be able to see live for the first time someone you’ve heard of – this, of course, in addition to suchheadliners– the names that occupy the privileged positions in the posters that announce the program of the event.
And even those who can’t attend the shows can take advantage of the festival’s careful curation to accumulate new favorites. Therefore, the pavé music compiles tips on what events around Brazil offer the best in addition to their main attractions.
June 03
Carioca Club in Sao Paulo
FBC | Nego Bala | Heavy Baile
For sale on the platform Ticket Club
DJ and producer, partner of people like Tássia Reis and Badsista, she should rock the night at the festival with the versatility she presents in her authorial tracks, which range from heavier dancefloor beats to a sunny and tropical climate.
//www.youtube.com/watch?v=sLhLO6_hfKs
The DJ from Brasilia describes herself as an artist with “deep respect and reverence for music”, which is evident in her performances and remixes. Its productions and partnerships exude a rich musicality, perfect for the proposal of this festival, which wants to value the current Brazilian production.
//www.youtube.com/watch?v=1ilmHxno13Y
A visual artist and also a DJ, Mari incorporates her urban and cosmopolitan graffiti aesthetic in her sets. On the night of the Mbora Fest, she should bring a selection that communicates today’s music well and prepares the ground in style for the festival’s shows.
//www.youtube.com/watch?v=1UWvdVg_FM8
The post Festival Guide: Mbora Fest first appeared on Música Pavê.
We want to thank the author of this write-up for this amazing content
Festival Guide: Mbora Fest
Every festival is a great opportunity to meet new bands, or to be able to see live for the first time someone you’ve heard of – this, of course, in addition to suchheadliners– the names that occupy the privileged positions in the posters that announce the program of the event.
And even those who can’t attend the shows can take advantage of the festival’s careful curation to accumulate new favorites. Therefore, the pavé music compiles tips on what events around Brazil offer the best in addition to their main attractions.
June 03
Carioca Club in Sao Paulo
FBC | Nego Bala | Heavy Baile
For sale on the platform Ticket Club
DJ and producer, partner of people like Tássia Reis and Badsista, she should rock the night at the festival with the versatility she presents in her authorial tracks, which range from heavier dancefloor beats to a sunny and tropical climate.
//www.youtube.com/watch?v=sLhLO6_hfKs
The DJ from Brasilia describes herself as an artist with “deep respect and reverence for music”, which is evident in her performances and remixes. Its productions and partnerships exude a rich musicality, perfect for the proposal of this festival, which wants to value the current Brazilian production.
//www.youtube.com/watch?v=1ilmHxno13Y
A visual artist and also a DJ, Mari incorporates her urban and cosmopolitan graffiti aesthetic in her sets. On the night of the Mbora Fest, she should bring a selection that communicates today’s music well and prepares the ground in style for the festival’s shows.
//www.youtube.com/watch?v=1UWvdVg_FM8
The post Festival Guide: Mbora Fest first appeared on Música Pavê.
We want to thank the author of this write-up for this amazing content
Festival Guide: Mbora Fest
The Czech Razor Rock Awards, focused mainly on harder forms of rock, metal, punk or hardcore, announce nominations for 2021. They were determined by 43 voters from approximately 30 magazines, fanzines, webzines and shows. Petr Korál will announce the final results on Sunday, June 5, in the program Hard and Heavy on Radio Beat. The nominations are listed in alphabetical order.
Also this year, there will be not only the announcement of the absolute ranking, ie without any genre division, but also the awarding of the winners of this four genre categories, which were created not by a separate vote, but simply by dividing the overall ranking. All albums with at least 40 points earned are included, which are then matched to six in each category. The genre distribution is set so that the best-scoring albums are distributed into several evenly numerous units. Compared to the past, the category of alternative rock is missing, because such tuned albums did not succeed too much this time, or they are incorporated into other categories. However, the absolute order without genre division will be essential and primarily announced.
Album roku – Rock & Crossover
The world of hard guitars can do anything. Sometimes, while maintaining all the force, it is combined with variously conceived electronics, other times, on the contrary, it has a light-hearted look at the field of art rock or folk rock. Airbrusher – “Dirndl To Go”
Between The Planets – “Parallel World”
Dark Gamballe – “Romance Dolls and Hammers”
Frodys – “Weirdfolk”
Martians – “You Are Here”
Necrocock – “Bipolar Nights”
Album of the Year – Metal
Atmospherically dark and sharply cut metal is often mixed from often traditional ingredients, yet many voters can be impressed to a great degree. Bohemyst – “Black and Death”
Inferno – “Paradeigma (Phosphenes Of Aphotic Eternity)”
Innersphere – “Omfalos”
Pachess – “Bud”
Refore – “Built To Nothing”
Titanic – “On”
Album roku – Death & Grind
Although the deadly firings also fall under the designation metal, they have attracted so many numbers that it is necessary to combine them with an even more crushing extreme and thus set them aside separately. Impulse – “42”
Insistent – “Disease”
Mortifilia – “The Great Inferno”
Sick Sinus Syndrome – “Rotten To The Core”
Scabies – “Wetting in shackles”
Tortharry – “Altars Of Ignorance”
Album roku – Punk & Hardcore
Punk or hardcore can thrive in the traditional form, as most nominees prove, but also in conjunction with disco or hard electronics. The resulting shape sometimes transcends genre boundaries, but still in strong connection with the given subculture. Ctib – “Kampak ?!”
Flowers For Whores – “False Flag World”
I Am Pentagon – “Sanity”
V0nt – “Equality”
Dude – “This isn’t an ass”
Zeměžluč – “MMXX”
Bonus
Outside the mentioned categories of hard rock, there are a pair of big-bit veterans, whose new albums have achieved such a point gain that they also receive nominations. Vladimir Misik – “Night Painting”
Michal Prokop & Framus Five – “It could be the sky …”
Newly discovered ensembles are often made up of members of previously well-known bands, but this has been a valid and therefore not surprising standard for several years. Bibione
Bohemyst
Fucking Czechs
Ravenoir
Refore
Sick Sinus Syndrome
Reedic of long-released or officially unpublished recordings is published so far that only a small fraction of them fit here. A particularly characteristic feature of last year, however, was the retro album, which offered brand new versions of ancient songs by legendary bands. Arakain – “Thrash The Trash”
Doležal Dodo Miloš & Vitacit – “1986-1991 Revisited – Part 1”
Heroes of the New Front – “Ordinary Heroes”
Heroes of the New Front – “When the Bombers Return”
Chlad – “MMXX-MMXVIII”
Insania – “God Is Insane… Join Him!”
Krabathor – “Demonizer / Mortal Memories II”
Death – Arcizlo
Radegast – “Demos 86/89”
“Soulkostel 2021 AD”
Minialbum & Split & Singl roku |
Traditionally, the most extreme, but still genre-diverse category is no less a traditional show of all possible media formats, differing in shape and size. Bibione – “Bibione”
Exorcizphobia – “Friend Of Lunacy”
Gride / Skliplife – “Split”
Innocent Body / Haran Satan – “Stigma”
Whores Czechs – “We Are Family”
Mindwork – “Cortex”
Můra – “Doom Invocations And Narcotic Rituals”
Needful Things / Controlled Existence – “Split”
Sheeva Yoga – “Vanity Vanities”
Send – “Send”
Dozens of successful video clips were found last year, but from their qualitatively balanced load, voters chose those that are sometimes visually ostentatious, sometimes on the contrary simpler tuning and in half of the cases in black and white.
Dark Gamballe – Until the end (Desed, Michal Steflovic)
Decultivate – Hatred, envy and self-pity (Chariot Of Black Moth)
Elbe – Scars (Stanislav Jelínek)
Forrest Jump – Crossroads (Cyberolas)
Necrocock – Behind the old sauna (Tom Necrocock)
Three sisters – I’m Aleš (Petr Orozovic)
Books can do a lot. For example, to map domestic fanzines in such a detailed way that no one has done so yet. Or to glorify 70 years of producing not only vinyls and thus attract their collectors. And also introduce a possible method of presenting rock to the youngest children. Miroslav Michela, Jan Lomíček, Karel Šima – “Do something! – Czech and Slovak fanzines and building alternative scenes” (Grada)
“Gramophone – From the Shipyard to the Big World” (GZ Media)
Matěj Lipský – “Mom, this is a crocodile in the chamber” (Élysion)
While last time there was nothing to take in this category, this time, despite all the restrictions, the situation was a bit better and the voters agreed on at least a few festivals. Contrary to a long tradition, however, it is enough if only the winner is awarded.
Pohoda Festival (Vodňany)
Josefstadt (Brutal Assault – Josefov)
MetalGate Czech Death Fest (MetalGate & Tortharry – Červený Kostelec)
Obscene Extreme (Obscene – Trutnov)
Thrash Nightmare (Sand)
In recent years, the creators of fanzines have not only attracted attention with brand new titles or the return of the old ones, but especially after many years with the finally published numbers of those that appear only occasionally. The storm was so intense that it required the space of such a dedicated category.
Buryzone
Go And Kill
How Can Limo Kid Kill Your Dreams?
Kids And Heroes
Mazinerie
Napalman
Parambucha
Claw
Spark
Telepathy
The letters read from the monitors may not be as impressive as the paper ones, but there seem to be several who can handle this role very well.
Crazy Diamond
Czechcore
Echoes
Phobia
Metalopolis
Outskirts
Medium of the year – stations and shows |
Many not only writers but also musicians do not want to write so much, but they want to talk about music. Last year, so many new media-independent video programs were created than ever before. They demanded a separate category even though the voters highlighted only one of those pictorially conceived and otherwise remained with those who spoke and played with music.
Modelers (Radio Wave)
Radio Beat
Harvest (BCTV)
Radio Wave
The most preferred publishers voting throw everything possible to the listeners’ ears in terms of genre – from hard metal, grind or hardcore, to piles of punk reissues and live performances, to strictly alternative, underground or experimental work.
Bizarre Leprous Production
Guerilla Records
Korobushka Records
Magick Disk Musick
MetalGate
Parrot Announcer Records
Pařát Productions
Psychocontrol
Pushteek
Stoned To Death
If a pandemic rages, someone can help themselves with a reduced version of the festival or various benefits in the interest of its preservation. Alternatively, throw in a world of talk about new records. Brutal Assault Festival held at least as Josefstadt
Herdron wins the Scene Personality poll
Benefit streams for the Prague Club 007 Strahov
Benefit projects for the Olomouc area SF Mini
Origin of the video show Harvest (BCTV)
Sad events can be a source of spit on those who agitatively abuse the virus, but also an expression of respect for someone who has left the stage or for eternity. In this respect, the death of Radim Pařízek, not mentioned below, can be noted, which was disappointedly remembered by a single voter, while another was mischievously pleased with this fact. Luboš Andršt dies (Framus Five, Jazz Q, Energit, Blues Band, etc.)
Return and level of the Czech Nightingale poll
Pavel Chrastina died (Olympic, Mephisto, etc.)
Departure of Zdeněk Kuba from the Arakain group
Daniel Landa and his Golden Pin initiative
The end of Vladimír Mišík’s concert career
Coronavirus pandemics limiting or disrupting concerts and festivals
We would love to give thanks to the writer of this short article for this remarkable web content
The Czech Razor Rock Awards announce nominations for 2021
The Czech Razor Rock Awards, focused mainly on harder forms of rock, metal, punk or hardcore, announce nominations for 2021. They were determined by 43 voters from approximately 30 magazines, fanzines, webzines and shows. Petr Korál will announce the final results on Sunday, June 5, in the program Hard and Heavy on Radio Beat. The nominations are listed in alphabetical order.
Also this year, there will be not only the announcement of the absolute ranking, ie without any genre division, but also the awarding of the winners of this four genre categories, which were created not by a separate vote, but simply by dividing the overall ranking. All albums with at least 40 points earned are included, which are then matched to six in each category. The genre distribution is set so that the best-scoring albums are distributed into several evenly numerous units. Compared to the past, the category of alternative rock is missing, because such tuned albums did not succeed too much this time, or they are incorporated into other categories. However, the absolute order without genre division will be essential and primarily announced.
Album roku – Rock & Crossover
The world of hard guitars can do anything. Sometimes, while maintaining all the force, it is combined with variously conceived electronics, other times, on the contrary, it has a light-hearted look at the field of art rock or folk rock. Airbrusher – “Dirndl To Go”
Between The Planets – “Parallel World”
Dark Gamballe – “Romance Dolls and Hammers”
Frodys – “Weirdfolk”
Martians – “You Are Here”
Necrocock – “Bipolar Nights”
Album of the Year – Metal
Atmospherically dark and sharply cut metal is often mixed from often traditional ingredients, yet many voters can be impressed to a great degree. Bohemyst – “Black and Death”
Inferno – “Paradeigma (Phosphenes Of Aphotic Eternity)”
Innersphere – “Omfalos”
Pachess – “Bud”
Refore – “Built To Nothing”
Titanic – “On”
Album roku – Death & Grind
Although the deadly firings also fall under the designation metal, they have attracted so many numbers that it is necessary to combine them with an even more crushing extreme and thus set them aside separately. Impulse – “42”
Insistent – “Disease”
Mortifilia – “The Great Inferno”
Sick Sinus Syndrome – “Rotten To The Core”
Scabies – “Wetting in shackles”
Tortharry – “Altars Of Ignorance”
Album roku – Punk & Hardcore
Punk or hardcore can thrive in the traditional form, as most nominees prove, but also in conjunction with disco or hard electronics. The resulting shape sometimes transcends genre boundaries, but still in strong connection with the given subculture. Ctib – “Kampak ?!”
Flowers For Whores – “False Flag World”
I Am Pentagon – “Sanity”
V0nt – “Equality”
Dude – “This isn’t an ass”
Zeměžluč – “MMXX”
Bonus
Outside the mentioned categories of hard rock, there are a pair of big-bit veterans, whose new albums have achieved such a point gain that they also receive nominations. Vladimir Misik – “Night Painting”
Michal Prokop & Framus Five – “It could be the sky …”
Newly discovered ensembles are often made up of members of previously well-known bands, but this has been a valid and therefore not surprising standard for several years. Bibione
Bohemyst
Fucking Czechs
Ravenoir
Refore
Sick Sinus Syndrome
Reedic of long-released or officially unpublished recordings is published so far that only a small fraction of them fit here. A particularly characteristic feature of last year, however, was the retro album, which offered brand new versions of ancient songs by legendary bands. Arakain – “Thrash The Trash”
Doležal Dodo Miloš & Vitacit – “1986-1991 Revisited – Part 1”
Heroes of the New Front – “Ordinary Heroes”
Heroes of the New Front – “When the Bombers Return”
Chlad – “MMXX-MMXVIII”
Insania – “God Is Insane… Join Him!”
Krabathor – “Demonizer / Mortal Memories II”
Death – Arcizlo
Radegast – “Demos 86/89”
“Soulkostel 2021 AD”
Minialbum & Split & Singl roku |
Traditionally, the most extreme, but still genre-diverse category is no less a traditional show of all possible media formats, differing in shape and size. Bibione – “Bibione”
Exorcizphobia – “Friend Of Lunacy”
Gride / Skliplife – “Split”
Innocent Body / Haran Satan – “Stigma”
Whores Czechs – “We Are Family”
Mindwork – “Cortex”
Můra – “Doom Invocations And Narcotic Rituals”
Needful Things / Controlled Existence – “Split”
Sheeva Yoga – “Vanity Vanities”
Send – “Send”
Dozens of successful video clips were found last year, but from their qualitatively balanced load, voters chose those that are sometimes visually ostentatious, sometimes on the contrary simpler tuning and in half of the cases in black and white.
Dark Gamballe – Until the end (Desed, Michal Steflovic)
Decultivate – Hatred, envy and self-pity (Chariot Of Black Moth)
Elbe – Scars (Stanislav Jelínek)
Forrest Jump – Crossroads (Cyberolas)
Necrocock – Behind the old sauna (Tom Necrocock)
Three sisters – I’m Aleš (Petr Orozovic)
Books can do a lot. For example, to map domestic fanzines in such a detailed way that no one has done so yet. Or to glorify 70 years of producing not only vinyls and thus attract their collectors. And also introduce a possible method of presenting rock to the youngest children. Miroslav Michela, Jan Lomíček, Karel Šima – “Do something! – Czech and Slovak fanzines and building alternative scenes” (Grada)
“Gramophone – From the Shipyard to the Big World” (GZ Media)
Matěj Lipský – “Mom, this is a crocodile in the chamber” (Élysion)
While last time there was nothing to take in this category, this time, despite all the restrictions, the situation was a bit better and the voters agreed on at least a few festivals. Contrary to a long tradition, however, it is enough if only the winner is awarded.
Pohoda Festival (Vodňany)
Josefstadt (Brutal Assault – Josefov)
MetalGate Czech Death Fest (MetalGate & Tortharry – Červený Kostelec)
Obscene Extreme (Obscene – Trutnov)
Thrash Nightmare (Sand)
In recent years, the creators of fanzines have not only attracted attention with brand new titles or the return of the old ones, but especially after many years with the finally published numbers of those that appear only occasionally. The storm was so intense that it required the space of such a dedicated category.
Buryzone
Go And Kill
How Can Limo Kid Kill Your Dreams?
Kids And Heroes
Mazinerie
Napalman
Parambucha
Claw
Spark
Telepathy
The letters read from the monitors may not be as impressive as the paper ones, but there seem to be several who can handle this role very well.
Crazy Diamond
Czechcore
Echoes
Phobia
Metalopolis
Outskirts
Medium of the year – stations and shows |
Many not only writers but also musicians do not want to write so much, but they want to talk about music. Last year, so many new media-independent video programs were created than ever before. They demanded a separate category even though the voters highlighted only one of those pictorially conceived and otherwise remained with those who spoke and played with music.
Modelers (Radio Wave)
Radio Beat
Harvest (BCTV)
Radio Wave
The most preferred publishers voting throw everything possible to the listeners’ ears in terms of genre – from hard metal, grind or hardcore, to piles of punk reissues and live performances, to strictly alternative, underground or experimental work.
Bizarre Leprous Production
Guerilla Records
Korobushka Records
Magick Disk Musick
MetalGate
Parrot Announcer Records
Pařát Productions
Psychocontrol
Pushteek
Stoned To Death
If a pandemic rages, someone can help themselves with a reduced version of the festival or various benefits in the interest of its preservation. Alternatively, throw in a world of talk about new records. Brutal Assault Festival held at least as Josefstadt
Herdron wins the Scene Personality poll
Benefit streams for the Prague Club 007 Strahov
Benefit projects for the Olomouc area SF Mini
Origin of the video show Harvest (BCTV)
Sad events can be a source of spit on those who agitatively abuse the virus, but also an expression of respect for someone who has left the stage or for eternity. In this respect, the death of Radim Pařízek, not mentioned below, can be noted, which was disappointedly remembered by a single voter, while another was mischievously pleased with this fact. Luboš Andršt dies (Framus Five, Jazz Q, Energit, Blues Band, etc.)
Return and level of the Czech Nightingale poll
Pavel Chrastina died (Olympic, Mephisto, etc.)
Departure of Zdeněk Kuba from the Arakain group
Daniel Landa and his Golden Pin initiative
The end of Vladimír Mišík’s concert career
Coronavirus pandemics limiting or disrupting concerts and festivals
We would love to give thanks to the writer of this short article for this remarkable web content
The Czech Razor Rock Awards announce nominations for 2021
The Deva Jury text and meaning of the new single of the all-female quartet of Italian pop.
Laura Bono, Greta Manuzi, Roberta Pump e verdianathat is to say Le Deva, had been missing from the record market for some time. To be precise, from October 2020, the month in which they published the song Shine alone. In 2021 they were guests of Orietta Berti in the evening of the covers at Sanremo Festival climbing on the podium with the five-a-side interpretation of I love only you by Sergio Endrigo.
Now, waiting for news on the group’s second album, it’s time for new music.
This new single is presented as a feminist anthem that claims the strength of women who suffer deceit and betrayal and is out on digital platforms since 31 maggio.
that’s how verdiana Zangaro talks about this piece written by her together with Pasquale Chiavaro, Marco Rettani, Valerio Powder and produced by Danger…
When sleep breaks I write and through the songs the restlessness changes shape. Something profoundly yours becomes his, theirs, ours and that flow on which that common feeling is sewn begins to weigh less.
Giura Giuda is a fragment of that darkness that has become my ink, to tell that courage is true only in the darkest hours of the night, when men’s masks pile up on the bedside table. It is the story of the umpteenth mask, which has the same bitter aftertaste of those that made you cry in the party bathrooms at 20 but with a different ending, because what happens does not change the sounding board of our heart but modifies its reactions.
In short, the song of those who have done me good in evil.
JuraGiudaheralds a new path for The Deva with electro-pop sounds and a new bold and bold image.
Talk to me while I look at you
and I remind you of the knots you untied
what you have to do to my black hair
I remember us
it’s not like I said
you really take me there
come take the metro
let’s move on to something serious
improve my sky
I know you can
I know you can
I know you can
What do I do with this moon, moon, moon
you looked at me and there was no moon
I know you have consumed cougars, cougars and swears
sad you kissed me, Judas swears
And now that I don’t see it as luck
that you also took my eyes for this dark room
that you tried to pass your fear to me too
Judas swears to be you
You remind me of my twenties
a thousand promises, you carried yourself forward
if I trusted the bathrooms were crying
important vinyls we did the greats
vinyl in important things we did the great, we did the great
And look where you have placed my steps
behind wounds you don’t even look at
through our fault you who gave to others
but they look a little like me in their features
darling
What do I do with this moon, moon, moon
you looked at me and there was no moon
I know you consumed smoke, cougar, swear
if you kissed me, Judas swears
And now that I don’t see it as luck
that you also took my eyes for this dark room
that you tried to pass your fear to me too
Judas swears to be you
Hey tell me if you would bet everything on us
you laugh but you will change my days with yours
and tell me if you would bet everything on us
you laugh but you will change my days with yours
What do I do with this moon, moon, moon
you looked at me and there was no moon
I know you consumed smoke, cougar, swear
sad you kissed me, Judas swears
And now that I don’t see it as luck
that you also took my eyes for this dark room
that you tried to pass your fear to me too
to be you, swear by judgment
We want to say thanks to the writer of this write-up for this outstanding web content
New clothes, sound and not, for the return of Le Deva with “GiuraGiuda”
The Deva Jury text and meaning of the new single of the all-female quartet of Italian pop.
Laura Bono, Greta Manuzi, Roberta Pump e verdianathat is to say Le Deva, had been missing from the record market for some time. To be precise, from October 2020, the month in which they published the song Shine alone. In 2021 they were guests of Orietta Berti in the evening of the covers at Sanremo Festival climbing on the podium with the five-a-side interpretation of I love only you by Sergio Endrigo.
Now, waiting for news on the group’s second album, it’s time for new music.
This new single is presented as a feminist anthem that claims the strength of women who suffer deceit and betrayal and is out on digital platforms since 31 maggio.
that’s how verdiana Zangaro talks about this piece written by her together with Pasquale Chiavaro, Marco Rettani, Valerio Powder and produced by Danger…
When sleep breaks I write and through the songs the restlessness changes shape. Something profoundly yours becomes his, theirs, ours and that flow on which that common feeling is sewn begins to weigh less.
Giura Giuda is a fragment of that darkness that has become my ink, to tell that courage is true only in the darkest hours of the night, when men’s masks pile up on the bedside table. It is the story of the umpteenth mask, which has the same bitter aftertaste of those that made you cry in the party bathrooms at 20 but with a different ending, because what happens does not change the sounding board of our heart but modifies its reactions.
In short, the song of those who have done me good in evil.
JuraGiudaheralds a new path for The Deva with electro-pop sounds and a new bold and bold image.
Talk to me while I look at you
and I remind you of the knots you untied
what you have to do to my black hair
I remember us
it’s not like I said
you really take me there
come take the metro
let’s move on to something serious
improve my sky
I know you can
I know you can
I know you can
What do I do with this moon, moon, moon
you looked at me and there was no moon
I know you have consumed cougars, cougars and swears
sad you kissed me, Judas swears
And now that I don’t see it as luck
that you also took my eyes for this dark room
that you tried to pass your fear to me too
Judas swears to be you
You remind me of my twenties
a thousand promises, you carried yourself forward
if I trusted the bathrooms were crying
important vinyls we did the greats
vinyl in important things we did the great, we did the great
And look where you have placed my steps
behind wounds you don’t even look at
through our fault you who gave to others
but they look a little like me in their features
darling
What do I do with this moon, moon, moon
you looked at me and there was no moon
I know you consumed smoke, cougar, swear
if you kissed me, Judas swears
And now that I don’t see it as luck
that you also took my eyes for this dark room
that you tried to pass your fear to me too
Judas swears to be you
Hey tell me if you would bet everything on us
you laugh but you will change my days with yours
and tell me if you would bet everything on us
you laugh but you will change my days with yours
What do I do with this moon, moon, moon
you looked at me and there was no moon
I know you consumed smoke, cougar, swear
sad you kissed me, Judas swears
And now that I don’t see it as luck
that you also took my eyes for this dark room
that you tried to pass your fear to me too
to be you, swear by judgment
We want to say thanks to the writer of this write-up for this outstanding web content
New clothes, sound and not, for the return of Le Deva with “GiuraGiuda”
Andrew Fletcher is now immortal. On a day when fans are going through the height of grief over his untimely passing – sadly, less than two months away from turning 61 – one of the few consolations left for those who love the Depeche Mode is to remember a series of the keyboardist’s best moments – and to claim the legacy of the British group founded in 1980 in the city of Basildon, alongside the partners Dave Gahan (vocal), Martin Gore (guitar, vocals) and Vince Clarke (guitar, keyboards, vocals).
“I’m the opposite of Dave (Gahan). I’m a musician, but on the streets nobody recognizes me. Within the band, my contribution is to be an element of pop”, declared Fletch in 2009.
The defensive testimony of one of those responsible for the success of Depeche Mode is justifiable. It was not a few times that the Nottingham native was questioned by critics about his effective role in the group’s performances.
Considered one of those responsible for the good management of Depeche Mode’s business, acting as a kind of spokesperson and manager, Fletcher was an effects wizard, mastering a collection of keyboards, synthesizers and gadgets. Highlight for the classics Oberheim OB-8, Moog and Korg RS-20.
Upon being informed of Andrew Fletcher’s death last Thursday, May 26, the members of Depeche Mode summed up the human essence of their partner, in the same way that he enjoyed making music. In Fletcher’s own words, “With the simplicity of pop melodies and all the lightness they represent”.
On the group’s official Twitter, the band’s statement on the keyboardist’s passing highlighted that “Andrew Fletcher had a heart of gold and was always there when we needed his support, a good conversation or simply sharing a beer.
Next, the music non stop features a special collection of achievements from the Depeche Mode that influenced the world of pop culture.
(God Bless you, Andrew Fletcher. R.I.P)
Andrew Fletcher’s Depeche Mode synth/goth-pop spawned – and still spawns – a diverse lineup of groups inspired by his influential artistry.
One of the most important names in industrial/techno rock to admit the power of Depeche Mode was Trent Reznor, from Nine Inch Nails. The multifaceted artist declared that the English band inspired him to pursue a musical career.
“It was the summer of ’86. I dropped out of college and was still living in Cleveland, trying to find my way into the local music scene. Me and some friends went to the Blossom Music Center amphitheater to see the Black Celebration. Depeche Mode was one of our favorite bands and the Black Celebration album (the group’s 5th) took my love for them to a new level. The music, the energy, the audience, the connection. It was spiritual and really magical,” Reznor confessed in 2017.
In 1993, almost a decade before creating the The Killers in Las Vegas, young Brandon Flowers walked into his favorite store with only one mission: to take home Songs Of Faith and Devotion – the first record bought by the future singer with his sweaty greens. The rest is history, told by himself.
“When I was 15, I got a job at a restaurant in Utah called Taco Time. I’ve always been a fan of Depeche Mode and ran to the Flying J store to buy Songs Of Faith and Devotion. Years later (who knew!) we would work with Flood, the album’s producer, on our second album, Sam’s Town. It was a big influence,” says Flowers.
Depeche Mode is not just one of the countless and powerful musical influences of the Coldplay. Andrew Fletcher’s group also impacted their pop image.
The proof is in the alternative video of the 2008 single, “Viva La Vida”. The creation of Anton Corbijn, shot in Holland – the filmmaker and photographer’s birthplace – is a tribute to Depeche Mode’s “Enjoy The Silence”. Not coincidentally, the video for the album’s second single Violatedr, in 1990, was directed by Corbijn himself.
Despite all the success, singer Dave Gahan hated having to dress like a king and record on top of a mountain, above 3000 meters, in the Swiss Alps. “I felt like a complete idiot doing it,” Gahan declared years after filming.
Taking over the North American market was never an easy task for pop groups, in addition to becoming an obsession for British artists.
In 1989, the multimedia package 101 brought to light the impact of Depeche Mode in the United States. Released as a documentary and live album, 101 is a faithful portrait of the devotion won by the British in their former colony.
Directed by the legendary D. A Pennebaker (the same as Bob Dylan’s “Don’t Look Back”), the film shows in vivid detail the perfect performance at the final show of the Music For the Masses tour on June 18, 1988. , at the Rose Bowl Stadium in Pasadena, California.
There are rare music stars who can be categorized as queens of pop. Lady Gagaundeniably one of the direct heirs to Madonna’s legacy, is worthy of sharing that throne.
Despite confessing to not having deep knowledge of Depeche Mode, the band’s discovery made her a respected fan.
It all happened after digging through YouTube and finding a mash-up of “Paparazzi” and “Just Can’t Enough”. The latter, a song released on Speak & Spell, the English’s debut album.
“When I discovered this mash-up with my music, I was like: wow! It’s a band that deserved much more recognition than it already has. I suggested to everyone to listen to more Depeche Mode”, confessed Gaga.
Certainly, Lady Gaga’s nomination acted as a trigger to further foster the legacy of Depeche Mode.
It was supposed to be a joke. In the end, the joke turned serious. In 1990, Depeche Mode ironically decided to name their seventh studio album as Violator. The intention was to satirize the horde of bully pursuers, who gloated over the light sound made by the English quartet.
“Our idea was to come up with a title that would embody in the most extreme and ridiculous way the name of a supposed Heavy Metal record. However, I would actually be surprised if people get the joke,” Martin Gore told the NME newspaper at the time of the release of Violator.
Ironically, what was supposed to be a joke turned into reality. Despite the rockers’ past of bullying, Depeche Mode songs have begun to be reinterpreted by some of the genre’s heaviest artists. Among them, Rammstein and Marilyn Manson.
We would love to thank the writer of this article for this outstanding content
From Lady Gaga to Marylin Manson. Depeche Mode’s influence on pop music and the legacy of the genius Andrew Fletcher – music non stop
Andrew Fletcher is now immortal. On a day when fans are going through the height of grief over his untimely passing – sadly, less than two months away from turning 61 – one of the few consolations left for those who love the Depeche Mode is to remember a series of the keyboardist’s best moments – and to claim the legacy of the British group founded in 1980 in the city of Basildon, alongside the partners Dave Gahan (vocal), Martin Gore (guitar, vocals) and Vince Clarke (guitar, keyboards, vocals).
“I’m the opposite of Dave (Gahan). I’m a musician, but on the streets nobody recognizes me. Within the band, my contribution is to be an element of pop”, declared Fletch in 2009.
The defensive testimony of one of those responsible for the success of Depeche Mode is justifiable. It was not a few times that the Nottingham native was questioned by critics about his effective role in the group’s performances.
Considered one of those responsible for the good management of Depeche Mode’s business, acting as a kind of spokesperson and manager, Fletcher was an effects wizard, mastering a collection of keyboards, synthesizers and gadgets. Highlight for the classics Oberheim OB-8, Moog and Korg RS-20.
Upon being informed of Andrew Fletcher’s death last Thursday, May 26, the members of Depeche Mode summed up the human essence of their partner, in the same way that he enjoyed making music. In Fletcher’s own words, “With the simplicity of pop melodies and all the lightness they represent”.
On the group’s official Twitter, the band’s statement on the keyboardist’s passing highlighted that “Andrew Fletcher had a heart of gold and was always there when we needed his support, a good conversation or simply sharing a beer.
Next, the music non stop features a special collection of achievements from the Depeche Mode that influenced the world of pop culture.
(God Bless you, Andrew Fletcher. R.I.P)
Andrew Fletcher’s Depeche Mode synth/goth-pop spawned – and still spawns – a diverse lineup of groups inspired by his influential artistry.
One of the most important names in industrial/techno rock to admit the power of Depeche Mode was Trent Reznor, from Nine Inch Nails. The multifaceted artist declared that the English band inspired him to pursue a musical career.
“It was the summer of ’86. I dropped out of college and was still living in Cleveland, trying to find my way into the local music scene. Me and some friends went to the Blossom Music Center amphitheater to see the Black Celebration. Depeche Mode was one of our favorite bands and the Black Celebration album (the group’s 5th) took my love for them to a new level. The music, the energy, the audience, the connection. It was spiritual and really magical,” Reznor confessed in 2017.
In 1993, almost a decade before creating the The Killers in Las Vegas, young Brandon Flowers walked into his favorite store with only one mission: to take home Songs Of Faith and Devotion – the first record bought by the future singer with his sweaty greens. The rest is history, told by himself.
“When I was 15, I got a job at a restaurant in Utah called Taco Time. I’ve always been a fan of Depeche Mode and ran to the Flying J store to buy Songs Of Faith and Devotion. Years later (who knew!) we would work with Flood, the album’s producer, on our second album, Sam’s Town. It was a big influence,” says Flowers.
Depeche Mode is not just one of the countless and powerful musical influences of the Coldplay. Andrew Fletcher’s group also impacted their pop image.
The proof is in the alternative video of the 2008 single, “Viva La Vida”. The creation of Anton Corbijn, shot in Holland – the filmmaker and photographer’s birthplace – is a tribute to Depeche Mode’s “Enjoy The Silence”. Not coincidentally, the video for the album’s second single Violatedr, in 1990, was directed by Corbijn himself.
Despite all the success, singer Dave Gahan hated having to dress like a king and record on top of a mountain, above 3000 meters, in the Swiss Alps. “I felt like a complete idiot doing it,” Gahan declared years after filming.
Taking over the North American market was never an easy task for pop groups, in addition to becoming an obsession for British artists.
In 1989, the multimedia package 101 brought to light the impact of Depeche Mode in the United States. Released as a documentary and live album, 101 is a faithful portrait of the devotion won by the British in their former colony.
Directed by the legendary D. A Pennebaker (the same as Bob Dylan’s “Don’t Look Back”), the film shows in vivid detail the perfect performance at the final show of the Music For the Masses tour on June 18, 1988. , at the Rose Bowl Stadium in Pasadena, California.
There are rare music stars who can be categorized as queens of pop. Lady Gagaundeniably one of the direct heirs to Madonna’s legacy, is worthy of sharing that throne.
Despite confessing to not having deep knowledge of Depeche Mode, the band’s discovery made her a respected fan.
It all happened after digging through YouTube and finding a mash-up of “Paparazzi” and “Just Can’t Enough”. The latter, a song released on Speak & Spell, the English’s debut album.
“When I discovered this mash-up with my music, I was like: wow! It’s a band that deserved much more recognition than it already has. I suggested to everyone to listen to more Depeche Mode”, confessed Gaga.
Certainly, Lady Gaga’s nomination acted as a trigger to further foster the legacy of Depeche Mode.
It was supposed to be a joke. In the end, the joke turned serious. In 1990, Depeche Mode ironically decided to name their seventh studio album as Violator. The intention was to satirize the horde of bully pursuers, who gloated over the light sound made by the English quartet.
“Our idea was to come up with a title that would embody in the most extreme and ridiculous way the name of a supposed Heavy Metal record. However, I would actually be surprised if people get the joke,” Martin Gore told the NME newspaper at the time of the release of Violator.
Ironically, what was supposed to be a joke turned into reality. Despite the rockers’ past of bullying, Depeche Mode songs have begun to be reinterpreted by some of the genre’s heaviest artists. Among them, Rammstein and Marilyn Manson.
We would love to thank the writer of this article for this outstanding content
From Lady Gaga to Marylin Manson. Depeche Mode’s influence on pop music and the legacy of the genius Andrew Fletcher – music non stop
When it reaches our hands, or ears, a new album by Creole, is not a mere launch, but a real event. It was no different with Survivean album that communicates directly with the moment we live as a Brazilian society, in times of political tribulations and a pandemic, with the rapper’s trademark in aesthetics and sharp tongue.
Given the intensity of the work, the pavé music decided to share not only his message, but the experience of listening to the album. As indicated by the singles that the musician presented in the off season of the albums, Criolo remains in the position of one of the most intriguing and necessary musical minds in the country.
“Only love can keep you away from the cannon” – in the opening of the album, the rapper builds an ever-growing melodic ambience, with hints of a nervousness boiling. With his heart in his hand and Tropkillaz in the production, he sings a kind of sunny lament, a lament that wants to be optimistic, with a pulse of life: “Here the speaker is a survivor, father”. (André Felipe de Medeiros)
As a more aggressive continuation of the first track, Niggas Making Money It Annoys Too Much it is a statement and observation about the habit of killing black people, even if they earn money. With harrowing beats, the track is well positioned and also dialogues with the following. These deaths will always be repeated, however there is hope of revolution through art and education. Thus prophesies Criolo. Amen! (Rafaela Valverde)
In one of the strongest lyrics on the album, Criolo talks about the innocence of children and the difficulty of those born in favelas keeping out of crime. The artist talks about the abandonment of the State, about the difference in the treatment of rich and poor children. The partnership with Tropkillaz gave the song a shine, bringing strength in the bass of the chorus and a melody that is marked in the mind. (Lili Buarque)
The fourth track of Survive it is a prayer to Ogum, the warrior orixá of African-based religions, a deity linked to protection. The repetitive lyrics at times and the marked percussion of the music evoke the points sung in Umbanda terreiros, sacred chants of African religion. The participation of Mayra Andrade, a singer from Cape Verde, gives even more soul to the sound and shines in the last seconds of the track. (Guilherme Gurgel)
Another track on the album produced with the duo Tropkillaz, its title makes reference to the military who killed in the name of God. In the very first stanza, not coincidentally, Criolo relates them to the current president, a critique of this medieval Brazil. The music brings an epic sound and suggests an increasing drama. Alternating between parts with just organ, bass and bass drum with others in which guitar, piano, string suits and others are added, Criolo’s voice remains intense from beginning to end. (André Moraes)
Criolo shares the vocals with Milton Nascimento in this song with a simple and repetitive melody, but with lyrics that flow like rap, on the border between rhyme and song. The track starts dark and adds jazz instruments to give it a “classical vibe” (reminiscent of an Italian movie soundtrack). An Afro-Brazilian beat completes the track. Some strains in the metric are uncomfortable, such as “mundo injustÔ” and “CarnÁval is a crowd”, but Milton’s voice manages to give depth to the song. (André Moraes)
Second track of the disc with the name of orixá in the title, Yemanja has arrived has a lighter sound compared to the rest of the album. And it brings a rhythm similar to Ijexá, a rhythm that packs the points of the Orixá in question in the terreiros of Brazilian religions of African origin. Even with a lighter sound, the lyrics contain the critical footprint that permeates the album, with sharp rhymes, keeping the subject of social inequality. Track with a mesmerizing chorus, necessary lyrics, those that make you want to listen to looping. (Diego Tribuzy)
With diversified shares, Wee is weaving the end of the album, while paying tribute to the rapper’s sister, Cleane, who died of covid-19 last year, but without leaving the protests and racial discussions aside. Affective and objective, the song points out who are the victims most affected by the system and the pandemic, and rocks us with a powerful chorus interpreted by Liniker. (Rafaela Valverde)
Using slang and abbreviated words, this song questions the prejudice against those who are different and the difficulties of the periphery. I confess that when I heard the song for the first time, I felt a great influence from BaianaSystem. Bold and dancing beats, characteristic of the sound system, the striking percussion, the torn voice, without the usual melismas of Criolo, and with a hint of aggression. One of my favorites on the album. (Lili Buarque)
Although this is not the song with the participation of Mayra Andrade, the arrangement of the song is very similar to the style of the Cape Verdean artist: constant percussion, strummed guitar and many pizzicatos responding to Criolo’s phrases. This track gives the album its name and seems to me a kind of outburst by the singer about the different social classes and what it is necessary to go through to stay alive: “There is a world that you do not experience, your problems are choosing what you will eat in the day”. Very strong. (Lili Buarque)
enjoy more than Creole no pavé music
The post Track by Track: Criolo – “Sobre Viver” first appeared on Música Pavê.
We want to give thanks to the author of this article for this outstanding content
Track by Track: Criolo – “About Living”
When it reaches our hands, or ears, a new album by Creole, is not a mere launch, but a real event. It was no different with Survivean album that communicates directly with the moment we live as a Brazilian society, in times of political tribulations and a pandemic, with the rapper’s trademark in aesthetics and sharp tongue.
Given the intensity of the work, the pavé music decided to share not only his message, but the experience of listening to the album. As indicated by the singles that the musician presented in the off season of the albums, Criolo remains in the position of one of the most intriguing and necessary musical minds in the country.
“Only love can keep you away from the cannon” – in the opening of the album, the rapper builds an ever-growing melodic ambience, with hints of a nervousness boiling. With his heart in his hand and Tropkillaz in the production, he sings a kind of sunny lament, a lament that wants to be optimistic, with a pulse of life: “Here the speaker is a survivor, father”. (André Felipe de Medeiros)
As a more aggressive continuation of the first track, Niggas Making Money It Annoys Too Much it is a statement and observation about the habit of killing black people, even if they earn money. With harrowing beats, the track is well positioned and also dialogues with the following. These deaths will always be repeated, however there is hope of revolution through art and education. Thus prophesies Criolo. Amen! (Rafaela Valverde)
In one of the strongest lyrics on the album, Criolo talks about the innocence of children and the difficulty of those born in favelas keeping out of crime. The artist talks about the abandonment of the State, about the difference in the treatment of rich and poor children. The partnership with Tropkillaz gave the song a shine, bringing strength in the bass of the chorus and a melody that is marked in the mind. (Lili Buarque)
The fourth track of Survive it is a prayer to Ogum, the warrior orixá of African-based religions, a deity linked to protection. The repetitive lyrics at times and the marked percussion of the music evoke the points sung in Umbanda terreiros, sacred chants of African religion. The participation of Mayra Andrade, a singer from Cape Verde, gives even more soul to the sound and shines in the last seconds of the track. (Guilherme Gurgel)
Another track on the album produced with the duo Tropkillaz, its title makes reference to the military who killed in the name of God. In the very first stanza, not coincidentally, Criolo relates them to the current president, a critique of this medieval Brazil. The music brings an epic sound and suggests an increasing drama. Alternating between parts with just organ, bass and bass drum with others in which guitar, piano, string suits and others are added, Criolo’s voice remains intense from beginning to end. (André Moraes)
Criolo shares the vocals with Milton Nascimento in this song with a simple and repetitive melody, but with lyrics that flow like rap, on the border between rhyme and song. The track starts dark and adds jazz instruments to give it a “classical vibe” (reminiscent of an Italian movie soundtrack). An Afro-Brazilian beat completes the track. Some strains in the metric are uncomfortable, such as “mundo injustÔ” and “CarnÁval is a crowd”, but Milton’s voice manages to give depth to the song. (André Moraes)
Second track of the disc with the name of orixá in the title, Yemanja has arrived has a lighter sound compared to the rest of the album. And it brings a rhythm similar to Ijexá, a rhythm that packs the points of the Orixá in question in the terreiros of Brazilian religions of African origin. Even with a lighter sound, the lyrics contain the critical footprint that permeates the album, with sharp rhymes, keeping the subject of social inequality. Track with a mesmerizing chorus, necessary lyrics, those that make you want to listen to looping. (Diego Tribuzy)
With diversified shares, Wee is weaving the end of the album, while paying tribute to the rapper’s sister, Cleane, who died of covid-19 last year, but without leaving the protests and racial discussions aside. Affective and objective, the song points out who are the victims most affected by the system and the pandemic, and rocks us with a powerful chorus interpreted by Liniker. (Rafaela Valverde)
Using slang and abbreviated words, this song questions the prejudice against those who are different and the difficulties of the periphery. I confess that when I heard the song for the first time, I felt a great influence from BaianaSystem. Bold and dancing beats, characteristic of the sound system, the striking percussion, the torn voice, without the usual melismas of Criolo, and with a hint of aggression. One of my favorites on the album. (Lili Buarque)
Although this is not the song with the participation of Mayra Andrade, the arrangement of the song is very similar to the style of the Cape Verdean artist: constant percussion, strummed guitar and many pizzicatos responding to Criolo’s phrases. This track gives the album its name and seems to me a kind of outburst by the singer about the different social classes and what it is necessary to go through to stay alive: “There is a world that you do not experience, your problems are choosing what you will eat in the day”. Very strong. (Lili Buarque)
enjoy more than Creole no pavé music
The post Track by Track: Criolo – “Sobre Viver” first appeared on Música Pavê.
We want to give thanks to the author of this article for this outstanding content
Track by Track: Criolo – “About Living”
Libreto k muzikálu z pražské periferie napsal filmový režisér Jan Svěrák (“Obecná škola”, “Kolja”, “Vratné lahve”, “Tmavomodrý svět”, …) a písně i texty složil zpěvák Tomáš Klus. Pro oba je uvedení tohoto počinu divadelní prvotinou. “Začal jsem psát nový scénář, a dlouho jsem nechtěl uvěřit tomu, že mi pod rukama nevzniká film, ale divadelní muzikál. Já divadlo nikdy nedělal! A kdo by měl složit všechny ty nové písně? Snad jedině Tomáš Klus by mohl…” komentuje prvně jmenovaný.
A písničkář si příběh tak zamiloval, že pro něj během několika měsíců složil šestnáct nových songů. “Nic lepšího jsem asi v životě neudělal. Snad proto, že jsem poprvé nepsal jenom o sobě,” přiznává.
“Bude to velmi poutavý příběh a věřím, že se dotkne každého. Zajímavá byla naše spolupráce s Honzou Svěrákem, Tamara dokonce prohlásila, že jsme jak dva písaři. Sáhl jsem si na tvůrčí ego. Odevzdal jsem první písničku a přišly mi k ní tři archy A4 poznámek. Tím, že Honza dokáže přijímat nadhled, dostali jsme se do dialogů. Myslím, že to ze mě vytěžilo to nejlepší, co jsem kdy napsal. Navíc se jedná o komplexní věc, měl jsem konkrétní limity, musel jsem sledovat dějovou linku a písně jsou na sebe koncepčně navázaný,” prozradil nám před rokem v rozhovoru.
A jak práce pokračovaly? Interview pokračovalo: “Angažoval jsem tam svoji kapelu, se kterou jsem aranžoval skladby. Dáváme tomu velkou formu. Měli jsme soustředění, během kterého jsme seděli nad libretem a vše rozebírali. Pro českou muzikálovou scénu to může být z hlediska přístupu a formy přínosem. Budu hrát jednu z hlavních rolí, nikdy předtím jsem v žádném muzikálu nehrál. Zároveň budu podruhé v životě v komisi a strašně moc se na to těším. Ale budu tam spíš jako konzultant.”
Představení běží zatím každé pondělí a úterý večer. V dalších rolích se můžete těšit na Veroniku Khek Kubařovou, Martina Dejdara, Šimona Bilinu a další.
We wish to thank the author of this write-up for this awesome material
Tomáš Klus se stal hlavní hvězdou muzikálu “Branický zázrak”
Libreto k muzikálu z pražské periferie napsal filmový režisér Jan Svěrák (“Obecná škola”, “Kolja”, “Vratné lahve”, “Tmavomodrý svět”, …) a písně i texty složil zpěvák Tomáš Klus. Pro oba je uvedení tohoto počinu divadelní prvotinou. “Začal jsem psát nový scénář, a dlouho jsem nechtěl uvěřit tomu, že mi pod rukama nevzniká film, ale divadelní muzikál. Já divadlo nikdy nedělal! A kdo by měl složit všechny ty nové písně? Snad jedině Tomáš Klus by mohl…” komentuje prvně jmenovaný.
A písničkář si příběh tak zamiloval, že pro něj během několika měsíců složil šestnáct nových songů. “Nic lepšího jsem asi v životě neudělal. Snad proto, že jsem poprvé nepsal jenom o sobě,” přiznává.
“Bude to velmi poutavý příběh a věřím, že se dotkne každého. Zajímavá byla naše spolupráce s Honzou Svěrákem, Tamara dokonce prohlásila, že jsme jak dva písaři. Sáhl jsem si na tvůrčí ego. Odevzdal jsem první písničku a přišly mi k ní tři archy A4 poznámek. Tím, že Honza dokáže přijímat nadhled, dostali jsme se do dialogů. Myslím, že to ze mě vytěžilo to nejlepší, co jsem kdy napsal. Navíc se jedná o komplexní věc, měl jsem konkrétní limity, musel jsem sledovat dějovou linku a písně jsou na sebe koncepčně navázaný,” prozradil nám před rokem v rozhovoru.
A jak práce pokračovaly? Interview pokračovalo: “Angažoval jsem tam svoji kapelu, se kterou jsem aranžoval skladby. Dáváme tomu velkou formu. Měli jsme soustředění, během kterého jsme seděli nad libretem a vše rozebírali. Pro českou muzikálovou scénu to může být z hlediska přístupu a formy přínosem. Budu hrát jednu z hlavních rolí, nikdy předtím jsem v žádném muzikálu nehrál. Zároveň budu podruhé v životě v komisi a strašně moc se na to těším. Ale budu tam spíš jako konzultant.”
Představení běží zatím každé pondělí a úterý večer. V dalších rolích se můžete těšit na Veroniku Khek Kubařovou, Martina Dejdara, Šimona Bilinu a další.
We wish to thank the author of this write-up for this awesome material
Tomáš Klus se stal hlavní hvězdou muzikálu “Branický zázrak”
Today on All Music Italia we host the video preview of one of the most interesting and talented artists among those launched in recent years by Sanremo Young. Let’s talk about Folcast who, about to return on tour, presents us the video of the new single, Lifting.
The song, produced by Tommaso Colliva and contained in the album Timely. In the video clip. directed by Giacomo Citroare collected the images of the tour in the clubs, which took place last April, which gave so much satisfaction to the singer-songwriter …
Eventually, quite a lot of people came! In the confusion and buzz we found ourselves very happy. This is just a small part of what was perhaps more of a party than a concert, at least for me and the group. Lifting ”is a song about the first phase of love: falling in love. Beyond the romantic aspect, the changes and joys of that moment come disruptive, very unkindly right in the face.
In Giacomo Citro’s extract I find a lot of expressions and faces that almost make me go back to that period. It was a busy moment and I want to remember that. I can’t wait to find those expressions again this summer, back on tour.
I’m happy to be back around Italy again this summer. The stage is the dimension in which I am most at ease and I can’t wait to share my music stage by stage with the audience.
A new tour, the Timely Summer tourproduced by Otr and departing from June. These are the first dates of a constantly updated calendar:
Regarding the new single, Liftinga piece completely written and composed by Folcastthe artist explains …
All ready for the launch, the count down begins: 10-9-8-7-6-5-4-3-2-1. The man is in orbit and is experiencing love. The orbit is a bed where we can be together and discover the miles of back of those we love. Falling in love is a pizza in the face, a bolt from the blue, an emotional crash that brings confusion and leaves scars to carry with you with your head held high. That’s a lot of stuff.
Following the text of the song and the video that today we present in an exclusive preview.
Another day passed
without understanding anything
to wait for that
some people arrive
I stayed here
come and get me
still like leaves in a room
without drafts
I stayed here
And you took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
I do not need anything
I want to stay with you
put on a videotape
that I make tea
and I don’t move anymore
except by bus
or the blue car
which is parked downstairs
And now tell me what you feel
and then unfolds the sails
they will not help to understand
but you explain them well
and this compelling cold
it makes our skin crawl
we hug in an instant
and you
Yes, you took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
You are
for me
like a tear
dust in the eyes
you are
for me
then you took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
You took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
Yes you took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
We would like to say thanks to the writer of this short article for this outstanding content
Video preview: all the happy confusion of the live contained in the video clip of “Lifting”, the new single from Folcast
Today on All Music Italia we host the video preview of one of the most interesting and talented artists among those launched in recent years by Sanremo Young. Let’s talk about Folcast who, about to return on tour, presents us the video of the new single, Lifting.
The song, produced by Tommaso Colliva and contained in the album Timely. In the video clip. directed by Giacomo Citroare collected the images of the tour in the clubs, which took place last April, which gave so much satisfaction to the singer-songwriter …
Eventually, quite a lot of people came! In the confusion and buzz we found ourselves very happy. This is just a small part of what was perhaps more of a party than a concert, at least for me and the group. Lifting ”is a song about the first phase of love: falling in love. Beyond the romantic aspect, the changes and joys of that moment come disruptive, very unkindly right in the face.
In Giacomo Citro’s extract I find a lot of expressions and faces that almost make me go back to that period. It was a busy moment and I want to remember that. I can’t wait to find those expressions again this summer, back on tour.
I’m happy to be back around Italy again this summer. The stage is the dimension in which I am most at ease and I can’t wait to share my music stage by stage with the audience.
A new tour, the Timely Summer tourproduced by Otr and departing from June. These are the first dates of a constantly updated calendar:
Regarding the new single, Liftinga piece completely written and composed by Folcastthe artist explains …
All ready for the launch, the count down begins: 10-9-8-7-6-5-4-3-2-1. The man is in orbit and is experiencing love. The orbit is a bed where we can be together and discover the miles of back of those we love. Falling in love is a pizza in the face, a bolt from the blue, an emotional crash that brings confusion and leaves scars to carry with you with your head held high. That’s a lot of stuff.
Following the text of the song and the video that today we present in an exclusive preview.
Another day passed
without understanding anything
to wait for that
some people arrive
I stayed here
come and get me
still like leaves in a room
without drafts
I stayed here
And you took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
I do not need anything
I want to stay with you
put on a videotape
that I make tea
and I don’t move anymore
except by bus
or the blue car
which is parked downstairs
And now tell me what you feel
and then unfolds the sails
they will not help to understand
but you explain them well
and this compelling cold
it makes our skin crawl
we hug in an instant
and you
Yes, you took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
You are
for me
like a tear
dust in the eyes
you are
for me
then you took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
You took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
Yes you took me by the hand
and you showed me the stars
and all this mixture
lifted my skin
and I’m not smiling
I have a bolt of lightning on my face
a clean and decisive cut
like a tear on paper
We would like to say thanks to the writer of this short article for this outstanding content
Video preview: all the happy confusion of the live contained in the video clip of “Lifting”, the new single from Folcast
Music Non Stop right? Everything to do with our work that has a lot of influence from Kraftwerk
To stutter is to communicate badly. Where did this name come from? Do you have difficulty communicating?
Wilton: To stutter is also to “traquejar”. It’s a curious name because a lot of people don’t know it’s in Portuguese. It is synonymous with “stutterer” and in Spanish it is a common word. But as we work with the loop, which is a repetition of short (and in our case very short) elements, you often notice that in the songs the guitar seems to be stuttering. It became a name that makes a lot of sense in our work. A sound that works with repetition. This is our concept, working the loop.
What year did you start?
Wilton: That thing really took off about three years ago.
You can see from your faces that this isn’t the first musical project you’ve been involved in. What is your backstory in music?
Zé: Man, we’ve been playing together for about 20 years. Wilton played in a band called Divine, from the early 90’s. A very interesting band that mixed shoegaze, hardcore, something kind of fast
W: There was a bit of a tribal thing too. Our vocalist was very interested in the things of the Afro identity, it was a band that sang in Portuguese about Iansan, Umbanda…
Z: And then I met Divine, played keyboards with them a little bit. And a few years later, in the early 2000s, we formed a band together called Superquadra, which was a transition between Tartamudo and Divine. A more climactic sound, more head… cerebral.
W: I already had a flirtation with electronics, with bases, loops and such
Z: And then after this band broke up we broke up a bit. I focused on soundtracks and film and Wilton had other bands. Until we met again and took this sound. We talked and arrived at the music we make today.
W: As we have had this affinity for many years, the way of creating is very refined. We started recording there at the end of the 80s with magnetic tape, on a roll… and technology has made huge leaps since that time. So we realized that we could make music very efficiently, with quality and from inside the house. In addition to being quickly.
MNS: This record of yours is “stuck” in Krautrock. Which is awesome, because I don’t think I remember anything as influenced by Kraut as what you guys are doing. This was an idea of the band’s conception, or it came naturally. What is this relationship?
W: I have a fondness for the Kraut scene. I’m a big fan of bands like Neu, Harmonia Can and even Kraftwerk, which is part of this scene. So much so that one of my old bands was called Motorik. So I wanted to explore with Zé Pedro musical minimalism, not only electronic, but a song that stays in one chord from beginning to end and you see nuances in the execution of this same chord, something that michal, guitarist of Neu and Harmonia does. It started a lot in exploring this concept of the minimum.
We would love to say thanks to the author of this article for this remarkable content
stutter interview – music non stop
Music Non Stop right? Everything to do with our work that has a lot of influence from Kraftwerk
To stutter is to communicate badly. Where did this name come from? Do you have difficulty communicating?
Wilton: To stutter is also to “traquejar”. It’s a curious name because a lot of people don’t know it’s in Portuguese. It is synonymous with “stutterer” and in Spanish it is a common word. But as we work with the loop, which is a repetition of short (and in our case very short) elements, you often notice that in the songs the guitar seems to be stuttering. It became a name that makes a lot of sense in our work. A sound that works with repetition. This is our concept, working the loop.
What year did you start?
Wilton: That thing really took off about three years ago.
You can see from your faces that this isn’t the first musical project you’ve been involved in. What is your backstory in music?
Zé: Man, we’ve been playing together for about 20 years. Wilton played in a band called Divine, from the early 90’s. A very interesting band that mixed shoegaze, hardcore, something kind of fast
W: There was a bit of a tribal thing too. Our vocalist was very interested in the things of the Afro identity, it was a band that sang in Portuguese about Iansan, Umbanda…
Z: And then I met Divine, played keyboards with them a little bit. And a few years later, in the early 2000s, we formed a band together called Superquadra, which was a transition between Tartamudo and Divine. A more climactic sound, more head… cerebral.
W: I already had a flirtation with electronics, with bases, loops and such
Z: And then after this band broke up we broke up a bit. I focused on soundtracks and film and Wilton had other bands. Until we met again and took this sound. We talked and arrived at the music we make today.
W: As we have had this affinity for many years, the way of creating is very refined. We started recording there at the end of the 80s with magnetic tape, on a roll… and technology has made huge leaps since that time. So we realized that we could make music very efficiently, with quality and from inside the house. In addition to being quickly.
MNS: This record of yours is “stuck” in Krautrock. Which is awesome, because I don’t think I remember anything as influenced by Kraut as what you guys are doing. This was an idea of the band’s conception, or it came naturally. What is this relationship?
W: I have a fondness for the Kraut scene. I’m a big fan of bands like Neu, Harmonia Can and even Kraftwerk, which is part of this scene. So much so that one of my old bands was called Motorik. So I wanted to explore with Zé Pedro musical minimalism, not only electronic, but a song that stays in one chord from beginning to end and you see nuances in the execution of this same chord, something that michal, guitarist of Neu and Harmonia does. It started a lot in exploring this concept of the minimum.
We would love to say thanks to the author of this article for this remarkable content
stutter interview – music non stop
A quick search for the Australian band Spacey Jane on any platform, he soon yields fervent comments about his live performances, whether in the public response or in the reviews of specialized critics. It is not risky to consider, even speaking from here in a corner of the world where the quartet has never set foot, that this is, therefore, its strongest point. How curious, then, to think that the group produced their second album, Here Comes Everybodyduring a time of the pandemic when no one could say if we would ever step on a show again in our lives.
“We were in a live music vacuum,” frontman Caleb Harper told pavé music, “For the first time, we made songs without thinking about how they would look on stage. We only take into account the listener’s experience with the record.” Also commenting on the experience of working on a second album, compared to a debut release, he states that “it wasn’t easier, because we had more to think about. When you release your first album, it’s like a three-year-old showing you a drawing and you say “look, that’s cool” (laughs), there’s a whole margin of error. That margin is much smaller now. Our audience has grown, there are more expectations, and we had to consider all of that. At the same time, it’s our first time writing and producing with the band as our full-time job. The feeling is that we are now where we need to be.”
//www.youtube.com/watch?v=FWHWJQh3Hk8
In addition to being able to dedicate himself exclusively to the band (and with plenty of time during the pandemic quarantine), Spacey Jane was able to rethink what he would like to do with Here Comes Everybodythe successor of Sunlight (2020). “The way people consume music is 99% alone, with headphones, so we thought, ‘How do we make this experience the best?’” says Caleb, “it’s only now that we’re in the process of building the show for the album. , which has been really cool, because that’s where a lot of challenges arise of how to transport that to the stage. We’re walking the fine line between reproducing what’s on the album, which is what people want to hear most, and our desire to deliver a performance that’s amazing.”
“I think, more and more, if you love a song by a band, you want to go to the show and at the very least recognize that sound that you already enjoy. So, the primary objective is to be able to bring the live sound closer to the recorded one, then think about how to make it even better”, comments he, who says he is also looking forward to the shows: “[Estou] excited to play less of the old songs that we’ve played so much over the course of two years, so it will be nice to be able to focus on the new ones. I think it gives us new energy. But I’m nervous because the audience still doesn’t know the songs well. You can’t tell how people there identify with a track just by the streaming numbers. Sometimes when you’re standing there in front of them, the reaction isn’t what you expected, it’s a whole different story.”
//www.youtube.com/watch?v=WsO1WCJn930
Launching on June 24th, Here Comes Everybody already had three singles released: Hardlight, It’s Been a Long Day e Sitting Up. “They don’t necessarily reflect how the record is as a whole, because the decision to choose singles is made based on several factors – the label thinks about what will look best on radio, streaming, engagement, etc. – and putting together an album is just a matter of keeping in mind what makes that record good,” explains Caleb, “there are things on the album that I’m curious to see how people will react. It’s not all big choruses, or guitar-driven. It has a lot of keyboard, but also a lot of percussion. You’ll listen to the album and not say ‘oh sure, I already knew that sound from hearing the singles’. I think he’s going to say, ‘this wasn’t what I expected, what the fuck?’ (laughs)”.
If the pandemic and also its period of isolation influenced disco production, it is easy to assume that they also affected the content of the lyrics – see It’s Been a Long Day. Caleb says that working on this dynamic “is difficult, because we don’t want to talk about it all the time, but we also can’t ignore the impact that all of this has. For me, the track is about a relationship that ended as a result of the afflictions of being a musician during the pandemic, and how it affected my mental state. So, yes, it had a direct impact on the content of the album, which speaks to the experiences that I and others have had over the years.”
//www.youtube.com/watch?v=iQl9J_JuiJs
In time: Spacey Jane is a bit of a “fish out of water” band in the Perth scene, known as the birthplace of Australian psychedelia. “We worked with a guy who mastered the first releases that Tame Impala did,” says Caleb, “and a lot of Brazilian psychedelic bands would send him music to master as well, so we would sit in the studio with him and listen to a bunch of psychedelic Brazilian music that I hadn’t even left yet, and it was all amazing. We grew up in that environment, but we were the only band making a more indie sound.”
like more interviews no pavé music
The post Spacey Jane made their second album in the “Void of Live Music” first appeared on Música Pavê.
We would like to give thanks to the author of this short article for this remarkable content
Spacey Jane Made His Second Album In “Live Music Void”
A quick search for the Australian band Spacey Jane on any platform, he soon yields fervent comments about his live performances, whether in the public response or in the reviews of specialized critics. It is not risky to consider, even speaking from here in a corner of the world where the quartet has never set foot, that this is, therefore, its strongest point. How curious, then, to think that the group produced their second album, Here Comes Everybodyduring a time of the pandemic when no one could say if we would ever step on a show again in our lives.
“We were in a live music vacuum,” frontman Caleb Harper told pavé music, “For the first time, we made songs without thinking about how they would look on stage. We only take into account the listener’s experience with the record.” Also commenting on the experience of working on a second album, compared to a debut release, he states that “it wasn’t easier, because we had more to think about. When you release your first album, it’s like a three-year-old showing you a drawing and you say “look, that’s cool” (laughs), there’s a whole margin of error. That margin is much smaller now. Our audience has grown, there are more expectations, and we had to consider all of that. At the same time, it’s our first time writing and producing with the band as our full-time job. The feeling is that we are now where we need to be.”
//www.youtube.com/watch?v=FWHWJQh3Hk8
In addition to being able to dedicate himself exclusively to the band (and with plenty of time during the pandemic quarantine), Spacey Jane was able to rethink what he would like to do with Here Comes Everybodythe successor of Sunlight (2020). “The way people consume music is 99% alone, with headphones, so we thought, ‘How do we make this experience the best?’” says Caleb, “it’s only now that we’re in the process of building the show for the album. , which has been really cool, because that’s where a lot of challenges arise of how to transport that to the stage. We’re walking the fine line between reproducing what’s on the album, which is what people want to hear most, and our desire to deliver a performance that’s amazing.”
“I think, more and more, if you love a song by a band, you want to go to the show and at the very least recognize that sound that you already enjoy. So, the primary objective is to be able to bring the live sound closer to the recorded one, then think about how to make it even better”, comments he, who says he is also looking forward to the shows: “[Estou] excited to play less of the old songs that we’ve played so much over the course of two years, so it will be nice to be able to focus on the new ones. I think it gives us new energy. But I’m nervous because the audience still doesn’t know the songs well. You can’t tell how people there identify with a track just by the streaming numbers. Sometimes when you’re standing there in front of them, the reaction isn’t what you expected, it’s a whole different story.”
//www.youtube.com/watch?v=WsO1WCJn930
Launching on June 24th, Here Comes Everybody already had three singles released: Hardlight, It’s Been a Long Day e Sitting Up. “They don’t necessarily reflect how the record is as a whole, because the decision to choose singles is made based on several factors – the label thinks about what will look best on radio, streaming, engagement, etc. – and putting together an album is just a matter of keeping in mind what makes that record good,” explains Caleb, “there are things on the album that I’m curious to see how people will react. It’s not all big choruses, or guitar-driven. It has a lot of keyboard, but also a lot of percussion. You’ll listen to the album and not say ‘oh sure, I already knew that sound from hearing the singles’. I think he’s going to say, ‘this wasn’t what I expected, what the fuck?’ (laughs)”.
If the pandemic and also its period of isolation influenced disco production, it is easy to assume that they also affected the content of the lyrics – see It’s Been a Long Day. Caleb says that working on this dynamic “is difficult, because we don’t want to talk about it all the time, but we also can’t ignore the impact that all of this has. For me, the track is about a relationship that ended as a result of the afflictions of being a musician during the pandemic, and how it affected my mental state. So, yes, it had a direct impact on the content of the album, which speaks to the experiences that I and others have had over the years.”
//www.youtube.com/watch?v=iQl9J_JuiJs
In time: Spacey Jane is a bit of a “fish out of water” band in the Perth scene, known as the birthplace of Australian psychedelia. “We worked with a guy who mastered the first releases that Tame Impala did,” says Caleb, “and a lot of Brazilian psychedelic bands would send him music to master as well, so we would sit in the studio with him and listen to a bunch of psychedelic Brazilian music that I hadn’t even left yet, and it was all amazing. We grew up in that environment, but we were the only band making a more indie sound.”
like more interviews no pavé music
The post Spacey Jane made their second album in the “Void of Live Music” first appeared on Música Pavê.
We would like to give thanks to the author of this short article for this remarkable content
Spacey Jane Made His Second Album In “Live Music Void”
The footprint of Jaromír Švejdík (aka Jaromír 99) is unmissable in Czech music and fine arts. The Summer Band has now expanded a long line of his projects – not to mention Priessnitz, Umakart or Kafka Band. The project, which arose from playing by a campfire, is now making its debut album.
In addition to Švejdík, five experienced musicians (including Priessnitz, Tomáš Palucha and Flower Power) from Jesenice and Šumperk met at the above-mentioned campfire. The geographical designation is clearly marked here, the album is connected with this region in the same way as Priessnitz. Only here, from the mystical, misty Jeseníky Mountains, it moves a short distance away, to the picturesque Rychlebské Mountains. The recording was filled with a sunny, relaxed atmosphere, as well as the memories and destinies of the people who lived here in the Sudetenland.
Švejdík, again in the Summer Band in the role of singer and songwriter, has always been a thoughtful narrator. In the texts he was (and here it remains) straightforward, forceful, he did not hide behind poetic images. At the same time, however, his verses do not lose their inner poetry – they simply do not float in the forests of meaningless self-serving metaphors. The story, or perhaps the memory level, which can be an intercepted story at its core, who knows from what knee and who knows how already twisted, but it always hides an inner, more general plane. We have such a vague memory of the expulsion of the German population from the Sudetenland (“Do not trust strangers”) with the final harsh statement “The Blind Can’t See / The Deaf Can’t Hear / The Dead Can’t Feel / The Dumb Are Silent”, it reflects the war and hard life in the mountains (“Hungry Pits”), but also the miserable social situation in this corner of the world (“Every Friday”). Even though the spirits of the past (“And paradise”) and the relaxed summer lethargy full of contemplation about oneself (“It’s not enough” or “Sunday”), there are never any hopes. The summer band offers a work in which there is not much room for melancholy and sadness, which were especially typical for Švejdík’s work with Priessnitz. The music itself also helps a lot. The guitar base, which still echoes ninety alt-rock formations, flutter keys of Vojtěch Šeliga and the extensive use of backing vocals or trumpets. The sound (produced by Dušan Neuwerth) is so aerated, distinctly acoustic, in many ways with a campfire feeling. He also has Švejdík’s singing. It just flows naturally, by the way, and focuses on the message rather than drawing some melodic curls.
“Summer Band” is a collection of eleven songs, honest, production-wise, but simple at heart. The content is more important than the atmosphere and poetry, but at the same time the result does not lose its lyricism. The album is partly a legacy of the covid era, although the musicians began playing together before it. Maybe that’s why it’s a turn to relaxed simplicity and purity of expression, maybe that’s why there’s not much room for darkness. And so it’s good. The record was conveniently released in the summer – as befits a Summer Band. But even if it comes out in autumn or deep winter, the pleasant summer atmosphere is firmly rooted in it.
We would like to thank the writer of this post for this amazing material
REVIEW: The summer band could release their nameless debut in the fall
The footprint of Jaromír Švejdík (aka Jaromír 99) is unmissable in Czech music and fine arts. The Summer Band has now expanded a long line of his projects – not to mention Priessnitz, Umakart or Kafka Band. The project, which arose from playing by a campfire, is now making its debut album.
In addition to Švejdík, five experienced musicians (including Priessnitz, Tomáš Palucha and Flower Power) from Jesenice and Šumperk met at the above-mentioned campfire. The geographical designation is clearly marked here, the album is connected with this region in the same way as Priessnitz. Only here, from the mystical, misty Jeseníky Mountains, it moves a short distance away, to the picturesque Rychlebské Mountains. The recording was filled with a sunny, relaxed atmosphere, as well as the memories and destinies of the people who lived here in the Sudetenland.
Švejdík, again in the Summer Band in the role of singer and songwriter, has always been a thoughtful narrator. In the texts he was (and here it remains) straightforward, forceful, he did not hide behind poetic images. At the same time, however, his verses do not lose their inner poetry – they simply do not float in the forests of meaningless self-serving metaphors. The story, or perhaps the memory level, which can be an intercepted story at its core, who knows from what knee and who knows how already twisted, but it always hides an inner, more general plane. We have such a vague memory of the expulsion of the German population from the Sudetenland (“Do not trust strangers”) with the final harsh statement “The Blind Can’t See / The Deaf Can’t Hear / The Dead Can’t Feel / The Dumb Are Silent”, it reflects the war and hard life in the mountains (“Hungry Pits”), but also the miserable social situation in this corner of the world (“Every Friday”). Even though the spirits of the past (“And paradise”) and the relaxed summer lethargy full of contemplation about oneself (“It’s not enough” or “Sunday”), there are never any hopes. The summer band offers a work in which there is not much room for melancholy and sadness, which were especially typical for Švejdík’s work with Priessnitz. The music itself also helps a lot. The guitar base, which still echoes ninety alt-rock formations, flutter keys of Vojtěch Šeliga and the extensive use of backing vocals or trumpets. The sound (produced by Dušan Neuwerth) is so aerated, distinctly acoustic, in many ways with a campfire feeling. He also has Švejdík’s singing. It just flows naturally, by the way, and focuses on the message rather than drawing some melodic curls.
“Summer Band” is a collection of eleven songs, honest, production-wise, but simple at heart. The content is more important than the atmosphere and poetry, but at the same time the result does not lose its lyricism. The album is partly a legacy of the covid era, although the musicians began playing together before it. Maybe that’s why it’s a turn to relaxed simplicity and purity of expression, maybe that’s why there’s not much room for darkness. And so it’s good. The record was conveniently released in the summer – as befits a Summer Band. But even if it comes out in autumn or deep winter, the pleasant summer atmosphere is firmly rooted in it.
We would like to thank the writer of this post for this amazing material
REVIEW: The summer band could release their nameless debut in the fall