Have a listen!
Have a listen!
- 8 Pins
Currently on repeat
Thief Closer, Album Covers, Amazing Electronics, Closer Cesar, Closer Weird, Closer Jpg, Music Album, Closer Ep, Album Art
▶ Thief - Closer EP
Currently on repeat :)
Favorite 2011, 2011 Album, Ripped Tide
The Rip Tide
Moment Bends - Architecture in Helsinki
Contact High, Album Covers, Artists, Awesome Music, Moments Bend, Helsinki, 2011, Architecture, Deserts Islands
Album: Architecture in Helsinki- Moment Bends. Favourite song: Contact High (http://bit.ly/lrQdJa). Genre: Indie pop
Architecture in Helsinki - Desert Island
Architecture in Helsinki, Moment Bends (Modular Recordings, 2011)
Sigur Ros - Með suð í eyrum við spilum endalaust
Album Covers, Sigur Rós, Spilum Endalaust, Sigur Ros, Við Spilum, Ryan Mcginley, Með Suð, Eyrum Við, Ryanmcginley
Sigur Rós - Með suð í eyrum við spilum endalaust. Ryan McGinley photograph of some young folks running naked across a highway under blue skies and a bright sun captures the freedom and wide-openness of Sigur Rós' music. It is immediately eye-catching due to all the nude bums, but upon further examination, the composition's sun-washed color and the lust for life it communicates are actually quite beautiful.
Sigur Ros' Með suð í eyrum við spilum endalaust: Listening to Sigur Ros makes me think about existentialist thoughts. This album cover is just... well, very apt.
Ryan McGinley: Whistle for the Wind, Publisher: Rizzoli, £30 #ryanmcginley #store #books #london #johnrocha #rizzoli
Með suð í eyrum við spilum endalaust: Sigur Ros, cover by Ryan McGinley
The Radio Dept. - Clinging to a Scheme
Music, Album Covers, Favourite Album, Clings, Cd Covers, Album Artworks, Covers Art, Following Suits, Radios Dept
Listen to 'Never Follow Suit' by The Radio Dept. from the album 'Clinging to a Scheme' on @Spotify thanks to @Pinstamatic - http://pinstamatic.com
The Radio Dept. - Clinging to a Scheme, cover art
THE RADIO DEPT. - CLINGING TO A SCHEME (2010) // It's crazy to me that The Radio Dept. is so meticulous with regard to their music- they release something intentionally every 3-4 years. And relatively speaking it's kind of a long time for a new album. But I'm glad they didn't rush Clinging to a Scheme, because I think it works greatly to their advantage. This album is one that rolls along, and unlike their previous albums, is tighter and more focused. The genre doesn't really lend a lot to help with that- hazy, electronic dream pop- so I think it's a testament to their skill and craft that they've managed to cultivate some amazing gems: the second leading track off of the album, "Heaven's on Fire" is notably more upbeat than Lesser Matters and Pet Grief. Other stand-out tracks include "A Token of Gratitude" and "You Stopped Making Sense". I'm looking forward to what they do next, even if I have to wait a little while.
Fitz and the Tantrums - Pickin' Up The Pieces
Soul Indie, Google Image, Don T Gotta, Album Covers, Music Obsession, Soul Throwback, Gotta Work, Pop Gem, Neo Soul
fitz and the tantrums! neo soul indie. "Moneygrabber" & "Don't Gotta Work It Out"
Fitz & the Tantrums - soul throwback
Arrr, some soulful, pop gems be buried herein, matey.
Google Image Result for http://grimygoods.com/wp-content/uploads/2010/08/Fitz-and-the-Tantrums.jpg
Florence And The Machine - Ceremonials
Album Covers, Music, Songs, Machine Ceremonies, Book, Listening, Favorite, Florence The Machine, Florence Welch
Florence Welch album cover photo for Florence + The Machine Ceremonials
By JODY ROSEN - Rolling Stone NOVEMBER 1, 2011 Florence is a machine. When Florence Welch burst to prominence two years ago, fronting a five-piece rock band as vigorous as any that's emerged from the U.K. in recent memory, it was clear that she was something special: a vocalist with extra horsepower who hurtled through love songs like a truck tearing down an empty highway on a moonless night. Florence and the Machine's second album is as dark, robust and romantic as ever, but a revving 18-wheeler is no longer the apt metaphor for Welch's voice. Listen to her hooting and growling on "Only If for a Night," a ballad somewhere between classic soul and midnight-on-the-moors English art rock. Listen to "Shake It Out," a treatise on heartbreak and spiritual rebirth. "I am done with my graceless heart/So tonight I'm gonna cut it out and then restart," she cries, over guitars and keyboards that heave and chime. This is the sound of a human turbine – a wind machine. On their 2009 debut, Florence and the Machine were a wiry rock band with a taste for melodrama. Here the scale is vastly inf lated: turbulent ballads, powered by booming drums and vocal chorales rising like distant thunder, full of Welch's banshee wails. The music touches on Celtic melodies, bluesy rock stomps, nods to goth and gospel. But the wind never stops howling. Welch is a hopeless romantic obsessed with bad romance. Song after song casts relationships as struggle, with a hair's breadth separating rapture from disaster. For Welch, love is a force as vast and violent as nature itself. In "What the Water Gave Me," a spurned lover goes to a watery grave: "Oh, my love, don't forget me/I let the water take me/Lay me down/Let the only sound/Be the overflow." This is a very British record, drawing on a tradition of iconoclastic U.K. pop that stretches from Kate Bush and Siouxsie and the Banshees to PJ Harvey. There's also a hint of another large-lunged Englishwoman here. Listen to "Lover to Lover," where Welch blasts out a gospel-soul-style lead vocal over an arrangement that winks at the thudding backbeat of classic Motown. Adele, anyone? The rock band most forcefully evoked on Ceremonials is one of the biggest of all time: U2. Like them, Florence and the Machine are a true band, who channel garage-rock camaraderie into a huge, lashing sound more fit for an Olympian mountain peak than a garage. And like U2, Florence and the Machine are fronted by a singer with the pipes, and the shamelessness, to pull off the melodrama – to turn the ridiculous into the sublime. 2011 has been a banner year for left-of-center women rockers, from St. Vincent to Feist to Laura Marling. Those women are boutique stars, as, for the moment, is Florence Welch. But Ceremonials suggests she could be a rock star, and a big one. The album concludes with the rock-gospel uplift of "Leave My Body," as Welch roars out a vision of transcendence: "I'm gonna leave my body/Moving up to higher ground/Lose my mind." It's a big song, with a big, brash, Bono-worthy sentiment. And a voice to match.
Music these days can be too accessible, at some point they can be too bland. But not Florence and the Machine. Ceremonials is the best album of 2012 and I've been listening to it constantly.
"Seven Devils" by Florence + the Machine - This song reminds me a lot of the fourth book when they take down the Council
The best music ever! My favorite! Listen to this all the time!
Florence +the Machine Ceremonials
Bon Iver - Bon Iver