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Search Results for: Дизайн человека профиль Дизайн человека Расшифровка ❤ metahd.ru <<<

Tender Creature

BANDCAMP

Steph Bishop and Robert Maril, former bandmates in queer country outfit Kings, spent years apart before reuniting as Tender Creature. Leaning into the uncertainties of transformation, instead of struggling to recreate something long gone, is in part what makes the duo’s electronic folk-pop debut, An Offering, so compelling. Bishop’s lyrics are informed by the wisdom that comes from hindsight. Lilting vocals summon frissons of emotional nostalgia in thematically heavy songs, each rife with evocative imagery—clenched fists, the salt of the sea, torn and ripped seams. Maril is playful in his digital production, bringing a certain electricity, voltage varying, to every track. 

Bishop’s tendency toward universally pleasing melodies is bent somewhat by Maril—classically trained in contemporary music, his fondness for digital music pushes him to break outside song structure status quo. “Whether it’s tweaking the melody slightly or singing the same melody over a different chord so there’s a little dissonance,” Bishop says, “Robert pushes us in directions I wouldn’t normally go.”

The songs make it clear that confronting trauma, rather than leaving it to fester, is the obvious choice: An Offering is an exploration of the painstaking work of untangling your hardships, your burdens and your heartbreak. From there, you’ll see your past and imagine your future with unprecedented vantage. 

To create the EP, songs were crafted mostly remotely, sending beats and rough cuts back and forth; Bishop lives in upstate New York, while Maril is a few hours south, in Hell’s Kitchen. Creating music in this way encouraged Bishop to explore new methods of songwriting. “I was just alone in my living room listening to this beat [Maril sent], singing nonsense over it,” Bishop says.“I had no idea where it was going to go, but it felt really good, and really natural. It felt freeing.” Maril jumps in, “I had been obsessed with this beat and sent a loop of it to Steph. I couldn’t believe it when I got back a sketch that turned into ‘If Anyone Asks.'”

The very subject matter of that track is what made its creation possible: Bishop says the song is about realizing you’ve lost yourself in a relationship and then remembering who you are. It was through reclaiming that strength that Bishop ultimately felt more grounded—and more comfortable in taking risks as a songwriter. “I think for a long time I felt a little timid about writing something that wasn’t going to catch someone’s ear super quickly; it felt important to sit down and write a song and sort of finish it and close it up like a book,” Bishop says. “Recently I feel compelled to try out different things and be a little braver in that way.” 

That’s not the only act of courage that went into An Offering; lyrically, Bishop addresses the kind of memories we often recoil at recalling. Bishop wrote the titular track about being with their grandmother when she passed on; they understood the experience as a gift—”An Offering.” “Climbing Trees” is about Bishop watching someone close to them struggle with his family’s response to his queerness back when they hadn’t found the words to express their own.

Reflecting on the death of one of their former students in the thick hopelessness after Trump’s election, Bishop wrote, “The Quietest Car,” a slow and pensive number that’s accented by the weeping of Maril’s cello. The song finishes with a gentle crescendo that makes no attempt to obscure the sad mood, yet reminds the listener of the inevitability of moving forward—and that we must make the most of our time.“The normalizing of conversation around things that might be uncomfortable is a push that I feel in a lot of ways right now,” Bishop says. “For a lot of different people.” 

If Tender Creature feels personal, that’s because it is—intensely so. The duo produced, engineered and performed the entirety of An Offering themselves. Bishop, primary songwriter and lead vocalist, plays guitar and ukulele; Maril, the primary producer and engineer, plays piano and cello, and programmed the synths. Close vocal harmonies, a touchstone of their work, are a constant thread throughout the EP.

Growth is difficult, even when you want it. Finding a way to reframe the difficulties in your past to shape a better future is precarious work, and learning who you are is a perpetual process. An Offering will resonate as a warm, helpful ushering along for many.   

This Way To The EGRESS

FACEBOOK| INSTAGRAM| BANDCAMP

Pennsylvania art-punk outfit This Way to the EGRESS gets downright introspective on their new album RETROSPECTIVA! (out Halloween Day 2020), all the while forcing you to move your body to Balkan beats and burlesque bop. It’s a modern journey through Tom Waits-esque folk-punk junkyards, esoteric worlds of vaudevillian juke joints and underground big band Great Gatsby parties. This is an album of hindsight and metamorphosis. This trickster band of misfits digs deep into their subconscious to find meaning in this increasingly complex world of death, pandemic and societal upheaval. We’re all just wondering if we’ll make it out alive. Spoiler alert, none of us do.

RETROSPECTIVA! is EGRESS’ sixth album. They’ve played festivals alongside heavy hitters like M.I.A., Cypress Hill & The Specials and shared stages with Squirrel Nut Zippers, World/Inferno Friendship Society, Aurelio Voltaire, Red Elvises and The Dresden Dolls, including being Amanda Palmer’s backing band at her New Year’s Eve Bash. The new album was recorded and produced by Dan Shatzky at his NYC Vibromonk studio, a mecha for the NYC gypsy/klezmer-punk scene with credits including Gogol Bordello, Balkan Beat Box & Firewater.

“Working with Dan was crucial,” says vocalist Sarah Shown. “This album took on a life of it’s own at Vibromonk. He produced and helped with arranging. He put us in uncomfortable situations, tearing down and rebuilding songs. It was a pilgrimage for us. We came through this as a new band and new people.”

EGRESS is a band that thrives in transformation. They’re genre fluid, where roots, jazz and world music influences meld with punk and the experimental. The band name itself comes from P.T. Barnum grifting his audience to exit his American Museum in New York City, featuring oddball sideshow attractions like the Figi Mermaid, dwarfs and bearded ladies, so they’d have to pay again to re-enter. The music of EGRESS is an indoctrination into secret worlds of underground art and performance. Their live shows are renowned as an immersive experience involving elaborate costumes, props, puppetry and dance, creating a respite and a meeting place for other avant garde bohemian types. RETROSPECTIVA! catalogs their own odyssey into growing older, confronting the death of loved ones and navigating their own physical, metaphysical and spiritual paths forward.

This Way to the EGRESS’ primary songwriters are power duo Taylor Galassi (vocals, accordion, cello) and Sarah Shown (vocals, keys) who live, work, love and psychonautically explore together—creating the framework that holds up the skeleton of the larger EGRESS body. Jaclyn Kidd (guitar) brought the only other track not written by Galassi or Shown on this record with her “Shower Song.” John Wentz (tuba, vocals) and Nick Pecca (drums) round out the remainder of the core band, but Ian Francis LeSage (trumpet), Joe “Bone” Lynch (trombone) and Rachel Galassi (violin, iola) also brought their talents to this record.

Confronting death became a major theme of RETROSPECTIVA! after the passing of both of Galassi’s parents and the death of Shown’s sister within three years of one another. “The End is Nigh” is about confronting your mortality head on, while recognizing the skeletons in your closet. “Gravedigger” deals with the political state of the world, our innocence in childhood and the responsibility of adulthood—watching old systems crumble and seeing what’s going to emerge from the rubble.

Similarly, “City Lights,” in the wake of Taylor’s parents’ deaths, deals with how life can be overwhelming and sometimes it’s just easier to check out. It engages with how you can prepare your whole life for something that may never come. Touring from town to town, yet the city lights are always the same. Galassi’s melancholy vocals contrast with dramatic orchestral sweeps, while Shown’s vocals on each chorus seem to almost comfort Galassi, giving him shelter and companionship when he needs it most.

“I’ve always felt that life has a natural way of weaving in and out of the ebb and flow,” says Galassi. “Well, we’re here to awaken the mundane to keep things interesting. Traveling sideshows were constantly on the move, waking up town after town, telling people, ‘We’ve arrived, come see the show!’ We have also arrived.”

The dreamworld of “Lights Out” delves into that outer/inner duality as it encompasses both the passing of Shown’s sister while simultaneously dealing with the subconscious demons of anxiety and depression. The song conjures images of Dumbo dealing with pink elephants and old-timey cartoon skeletons dancing with black cats in cemeteries.

RETROSPECTIVA! delves into different concepts of transient states. Our bodies will one day be dirt again. But, can our minds transcend this mortal coil? “Skin and Bones” confronts how we spend our time and energy. We’re all going to the same place at the end, while humanity will keep going. “Knock Knock” came to Galassi fully formed as he looked at his reflection in a dirty living room window in the middle of the night. It’s about owning up to your regrets and moving forward or the train will just leave without you. RETROSPECTIVA! ,at its core, is an album of reflection and growth, a sentiment that seems to be mirroring the current American zeitgeist of social equality in race, class and gender.

Album closer “Last Call” brings us all together in these uncertain times, with gang vocals in the style of traditional drinking ballads. We can imagine the members of EGRESS and their fans swaying with drinks in hand and singing along as this ship called society sinks into the abyss. Hopefully the mystic work we’ve done with This Way to the EGRESS here on Earth has prepared us for the afterlife. 

RETROSPECTIVA! is an upbeat, fun record built to be danced to, but that often contrasts with dark introspective lyrics. That’s exactly what makes this such an exciting album. The members of EGRESS already have side projects and solo projects waiting in the wings as we patiently await the next record. Until then, we’ll continue to listen to RETROSPECTIVA! with our friends and family on the astral plane.


“This Way to the EGRESS raises the spirits with a rousing back alley Jazz as they ask for a little comfort for their departing souls with ‘Whiskey on My Grave.’” – The Alternate Root

“… [Egress] never slow down like a madcap carnival ride possessed by ghosts — this promises to be one heck of a live show.” – PopDose

“See No Evil” [is] a cabaret-inflected story told with horns and a charismatic vocal performance.” – Magnet Magazine

“They are part circus vaudevillians, part trickster brats and they put on an absolutely amazing performance worthy of Tom Waits. ” – SLUG Magazine

by Baby Robot Media

The Bluegrass Situation Premieres Laura Rabell’s New Track “This Stone”

laura rabell alt country this stone premiere the bluegrass situation immortal record

“”This Stone” is about trying to make something work but coming to the realization that it never will—you can keep on being miserable or make a change. It’s about walking away, and it turned out to be prophetic. It foreshadowed some important emotional truths I ended up facing. And I’ll be damned if the Pfaltzgraff wedding china I inherited from my grandmother didn’t literally start cracking and falling apart! Be careful what you write, I guess.

I came up with a first draft of “This Stone” with my friends Paul Ivy and Norm McDonald—who had both been through a divorce—and I just couldn’t get the song out of my head. I played it over and over alone in my room. At first, I was thinking it was just a rough sketch, and that the lyrics still needed a lot of work. But the more I played it, the more every line just felt so achingly true and honest. I couldn’t bring myself to change a word, and Norm and Paul couldn’t either. Whenever I sang it, there was something that connected on a deep, emotional level.

This was toward the end of working on the new record, so I called my producer, Dave Coleman, and asked if we could squeeze in one more session. We went into the studio with Jeff Thorneycroft on bass and Pete Pulkrabek on drums, just as everyone was getting ready to go out of town for Christmas. Along with “Ride the Wolf,” another song we cut in the final session, “This Stone” was the last piece of the puzzle we needed to finish the record. After that, everything felt right. The vibe Dave, Jeff and Pete cooked up was perfect. During overdubs, Dave and my neighbor, Kristen Cothron, added backing vocals that really brought weight and power to the song.

I have a reputation as someone who does not write happy songs. I usually stick to minor keys, I can be a bit macabre, and I’ve been known to kill off a character or two. The day we wrote “This Stone”, Norm came up with the idea about droplets of wine. I, of course, made the connection between wine and blood. And then I started laughing and begging, “Guys, PLEASE let me make this song weird!” Thankfully, Norm and Paul were there to bring it back down to earth and make sure the song felt emotionally true. They were adamant we couldn’t just blame the male character, which I may or may not have a habit of doing. Real life isn’t one-sided like a man-hating country breakup song. It’s more complicated—there’s usually plenty of blame to go around. Plus, the song is sadder that way, which is cool with me.

After the recording was finished, my husband and I had survived an incredibly stressful and tumultuous year thanks to my cancer diagnosis, which inevitably spilled over into our marriage. But “This Stone” gave me a precious gift—it was an outlet for all those feelings deep beneath the surface.” 

Listen to the track here…

Filed Under: Client Press Tagged With: The Bluegrass Situation

by Baby Robot Media

Buzzbands LA premieres dream-pop/indie-folk artist Misty Boyce’s new single “i do”

misty boyce los angeles buzzbands la baby robot media i do genesis

In between her estimable work as a hired gun, singer-songwriter-keyboardist Misty Boyce had always made time for her solo career, creating vulnerable, evocative indie-pop with gentle uplift and a grounded point of view. READ MORE…

Filed Under: Client Press Tagged With: Buzzbands LA

by Baby Robot Media

American Songwriter Premieres Laura Rabell’s New Track “The Mirror”

laura rabell alt country americana singer premiere american songwriter the mirror new track

“With “The Mirror,” Nashville-based singer-songwriter Laura Rabell shows how a song can initially seem like it’s about insecurity – but in the end, it’s really about strength and bravery. She premieres the track on July 15 here at American Songwriter, ahead of releasing her debut album, Immortal, on July 31.

“I’ve always had a love/hate relationship with mirrors and wanted to write about that,” Rabell says. “I don’t usually like what I see in the mirror, and after spending the better part of last year battling breast cancer, including two surgeries and four rounds of chemo, that damn mirror watched as my hair fell out, eyebrows and eyelashes thinned, skin sallowed, and dark circles widened. I grew to hate that inescapable visual reminder of my insecurities – which reminded me a lot of being a teenager, looking in the mirror and asking, ‘Am I pretty enough? Am I good enough?’”

Starting with sparse acoustic guitar, “The Mirror” swells into a swaggering full-band declaration of defiance. Rabell recorded it at Howard’s Apartment Studio in East Nashville with axeman Dave Coleman producing, Jeff Thorneycroft on bass and singing harmonies, and Pete Pulkrabek on drums.” READ MORE…

Filed Under: Client Press Tagged With: American Songwriter

July 13, 2020 by Baby Robot Media

Listen: State of the Art Spotify playlist for 7/13/20

State of the Art Spotify playlist weekly baby robot media brm indie hip hop electro pop punk rap metal folk

Listen to this week’s State of the Art Spotify playlist featuring:

Stephie James – These Days
Future Islands – For Sure
The Savants of Soul – More Than One to Choose From
Surfer Blood – Summer Trope
Sara Rachele – Hollywood
Badly Drawn Boy – Is This A Dream
Margaret Chavez – H O R A
Vangarde (Mr. Lif, Stu Bangas, Puma-ptaha, Reef The Lost Cauze, BluPrint, Murs) 8 Minutes 46 Seconds
JAMS The Flava Child – Alien Queen
Black Thought – Thought Vs Everybody
Man Man – Lonely Beuys
Young Antiques – It Might Sound Crazy
Slark Moan – The Shore
K Michelle DuBois – Pearl
Drivin N Cryin – Detroit City Rock
Roan Yellowthorn – Can’t Change Me
070 Phi, Irie Child – 100 Bands
UFO House Party, Prom Queen – Beautiful and Blue
Wolfheart – Hail of Steel
Evidence – Unlearning
The Prefab Messiahs – 21st Century Failure
Triptides – Cassis
Angelo De Augustine – Santa Barbara
Hus Kingpin, DJ CAESAR, Rozewood – Ghost in a Shell
Mulatto – No Hook
CRIMEAPPLE – Garfield
38 Spesh, 1000 Words – Lax
Eerie Gaits – What’s Eating You
Laura Marling – Held Down
Midwife – S.W.I.M.
Trace Mountains – Lost in the Country
Why Bonnie – Voice Box
Sufjan Stevens – America

Or check out the YouTube Playlist:

Filed Under: Playlists Tagged With: Spotify

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