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#instamusic

Some people are very much important in my life and you are one of them❤️❤️ #bollywoodhot#tiktokkeren#catsofinstagram#instagramers#instamusic#osmanbey#instadaily#instafood


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. 本日はおめでたい場所に💍 私も楽しんで過ごそうと思います✨ . 素敵な日になりますように🙌 . #梶有紀子 #yukikokaji #シンガーソングライター #弾き語り #ギター弾き語り #ミュージシャン #ギター女子 #switch #jpop #music #singer #songwriter #instamusic


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Vamos a la Disco a Bailar. #Ready 🔥 #instamusic #reggeton #singer #mexicano en #movimiento pa # bailar ve y dale amor a mi canal de YouTube que estamos Ready 🔥


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Que todos los días de tu vida, tengan un "Hora Loca" como la nuestra!!! . 🎶🌠🐸🎬🤪🦄💃🏻🌍🛳🌠🌟🌛 . 💜💙 @orquestaformulashow 💙💜 . #alegra #actitud #secret #compis #music #travel #summer #love #life #happy #happier #moments #orquestas #woman #pickoftheday #instaphoto #instagram #instastyle #instamusic #pickoftheday #igerszgz #zgzmola #smile #sunrise #selfie


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. Lonliness Tokyoという片隅でTIKI BUN #tikibun #lonlinesstokyo #tokyoという片隅 . . . #いいね返し #l4l #dailylook #ストリート #お洒落さんと繋がりたい#dailylook #ootd4nylonjp #いいねした人全員フォローする #いいねした人で気になった人フォロー #フォロバ #譜久村聖 #生田衣梨奈 #石田亜佑美 #佐藤優樹 #小田さくら #野中美希 #牧野真莉愛 #羽賀朱音 #加賀楓 #横山玲奈 #森戸知沙希 #instamusic #モーニング娘19 #モーニング娘 #道重さゆみ #ハロプロ #ハロヲタさんと繋がりたい


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Современный, достаточно технологичный, проигрыватель виниловых пластинок Ion Vinyl Transport . . . . . . . . . . . . . . . . . . . . #music #love #hiphop #rap #dj #art #singer #musician #musica #artist #rock #dance #follow #party #like #instagood #guitar #live #livemusic #instagram #concert #song #photography #instamusic #producer #s #fashion #newmusic #band #vinyl


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#instamusic


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city pop on a night street in Japan... Plastic Love/Mariya Takeuchi . band 👉 @rockn_flower . 吉祥寺でやりました! 説明不要、往年の名曲ですね。 . . #plasticlove #mariyatakeuchi #citypop #tokyo #japan #streetperformer #竹内まりや #シティポップ #吉祥寺 #路上ライブ @drumlads @drumuniversity #drum #drums #drummer #drummers #drumming #drumstagram #drumkit #drumsdaily #drumlife #drummerlife #drummersofinstagram #instadrums #musiciansofinstagram #drumsdrumsdrums #instadrummer #drumsoutlet #drumporn #music #instamusic #ドラム


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Último ensaio hoje da galerinha simpática e competente , amanhã concerto de música de câmara na UNESP - Universidade Estadual Paulista. Você não pode perder às 19:30 hs. 24/06/2019 Sábado - Rua: Dr. Bento Teobaldo Ferraz , 271 - Barra Funda. #iaunesp #unesp #musicaclassica #sampa #sampaonline #boys #boysloveboys #cultura #instagram #instagood #instaart #instamusic #instamusica #instamusicians #instadog #instagram #concerto #concert


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#🎧 I love this song #SabrinaMalheiros - #Lovesorte #instamusic #music #今日の一曲 #Latinmusic


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Yo soy, Horacio Magaña y estoy participando en el Reality Show “Kareoke Online Conexiones” si reproduces el vídeo de mi presentación y le das Me gusta, podré tener más oportunidad de seguir participando para la próxima semana por el Gran Premio en Conexiones TV. Aprovecha de votar en todas las plataformas de conexiones en Instagram y Facebook. Porque, yo estoy conectado y ¿tú? #conexionestv #karaoke #online #music #love #hiphop #singer #musica #artist #rock #dance #party #like #instagood #livemusic #instagram #concert #song #photography #instamusic #fashion #pop #musicvideo #youtube #photooftheday #musically


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Aonde tudo começou uma amiga de trabalho estava gravando um vídeo e de repente o nosso anjo soltou a voz e depois desse vídeo ele estourou Voa passarinho e mostra essa voz pro mundo ❤️ @sousa021_ . . . #msica #musica #musical #msicas #musicas #musicaboa #musicart #musicando #musicalinda #musicanova #musicanova #canço #cancao #ritmo #ritmos #som #musicaminhavida #muitosom #musicalidade #tocar #hashtagsemportugues #music #song #instamusic #photooftheday


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GM 😚☕ وانا عملتها قبلك🤟🏽 @last_shot5 @last_shot5 . . . #trap #folow4folow #likeforlikes #instamusic #like4likes #folowme #followforfollowback #hiphop #music #producer #piano #illuminati #miami #California #la #egypt #kuwait #oman #newpost #sanfrancisco #saudiarabia #djs #goodmorning #arabicmusic #راب_عربي#جديد #راب_مصري #روقان #تعال #موسيقى_عربية


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Suaranya begitu lembut🎧 ___________________________ . . . Follow & suport chanel @musik_trendd @musik_trendd @musik_trendd . . . #coverlagu #covermusik_a #coverlaguindonesia #tamiauliacover #padiband #musicvideo #musik #begituindah #viralvideos #support #instamusic #instalike #voicekids #video #videoviral #videomusikgram


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"Acredite!!! Temos talento para chegarmos onde quisermos!!!" Eu ainda estou procurando o meu talento pro violão......kkkkkkkkkkkk.... mas tudo bem...... Eu nunca desisto de nada!!! Amoooooo violão!!! #boanoite #gratidao #gratidaoaDeus #musica #violo #amomuito #instamusic #motivaço


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While We Go Dancing | White Rabbits | I loved these first 2 albums so much, Fort Nightly and It’s Frightening | @blackcatdc | Oct. 17, 2009 | I’m 100% sure I walked over to @stickyricedc after.


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와류류ㅠㅠ


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. Mas mas yang ngejam total banget, sampai temennya balik duluan ga dihiraukan. ________________________________________________ @masterssportsbar @cavalera.official @0p_cavalera @aryoman @ramamanaf_zonagitar @rbeben @indha_dewine @andrewwprasetyo #music #regularmusic #reggae #song #songs #melody #hiphop #rnb #pop #love #rap #dubstep #instagood #beat #beats #jam #myjam #party #partymusic #newsong #lovethissong #remix #favoritesong #bestsong #photooftheday #bumpin #repeat #listentothis #goodmusic #instamusic


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When I'm doubt, follow the advice of Psalm 98:4 "Make a joyful noise to the Lord, all the earth; break forth into joyous song and sing praises!"


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Don't allow one bad experience to tarnish who God is... Yes!..I understand, You might have had a bad church experience, You might be physically impaired..You might have lost Your loved ones..You might have grew up in lack..You might have been hurt or abused..You might have failed at everything in the past...but with all respect..I say - I understand Your hurt but the fact that God kept You alive is because:.. Your end shall be better than Your beginning.. For as long as You still have breath in You - It sure is not over!!! God is the God of new beginning..the God of Turn Around..the God of Endless Love..Mercy..Grace and Kindness. He hasn't given up on You!..Let go of the past!!! Choose Freedom in Christ and Your life will be an amazing #testimony but God places the choice in Your hands.. #We_Love_And_Cheeriish_You!!! #TheChoiceIsYours #RemainBlessed #Shalom 🙏🏼👏🏼🙏🏼🙌🏼🙏🏼 😇🌹💫🌹😇 #blessed #inspiration #musiclover #follow4followback #followtrain #musik #music #musiclover🎶 #christianmusic #followforfollowback #recordingartist #photooftheday #photographer #singersongwriter #picoftheday #likes #likeforlike #likesforlikes #likeforfollow #instagood #instamusic #photography #songwriter #musiclover


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Mis sueños se hacían cada vez más grandes pero tuve que guardarmelos todos... fue muy duro tener que levantarme luego que todos mis sueños fueron destruidos.🍃🌼 #iKON #아이콘 #instagood #instalike #picofday #kpop #hanbin #jay #bobby #song #june #dk #chan #instamusic #loveyourself


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On her seventh album, the pop mega-force leaves behind the anger that fuelled its predecessor, Reputation instead opting for open-hearted love songs The title of Taylor Swift’s seventh album isn’t misleading. After 2017’s bitter and combative Reputation, she’s returned to the wide-eyed but incisive romantic pop that made her a superstar. It’s telling that terrible lead single "Me!" has been relegated to track 16 at the tail end of the album. With playful lyrics like “I know that I’m a handful, baby," it’s supposed to be a sparkling reintroduction to Swift’s fun side, but tries too hard and ends up sounding like a jingle for a cheesy TV ad. Thankfully, it’s one of only two major misfires. The other, spare opening track "I Forgot You Existed," is a tedious Reputation retread. Much of Lover is far more infectious. “‘I love you’ – ain’t that the worst thing you ever heard?’” Swift sings knowingly on "Cruel Summer," a brilliant pop song co-written with Annie “St. Vincent” Clark. The equally fantastic "I Think He Knows" tip-toes as close to funk as Swift can get away with, and peaks with one of those economical-yet-evocative lyrics that she built her pre-Reputation reputation on. Other Lover highlights are more stripped back. The title track is a lovely, dusky nugget that suggests Swift could have been an alt-country singer if she’d wanted. The glistening synth-pop of "The Archer," is home to another excellent melody, benefits from an effortlessness and lightness of touch. Despite the odd dud, Lover is a welcome reminder of her songwriting skills and ability to craft sonically inviting pop music. Together with co-producers including Jack “Bleachers” Antonoff and Joel Little (Lorde, Khalid), she’s made another slick and accessible record flecked with surprising production flourishes. To call Lover a comeback feels like a reach considering that Reputation, her lowest-selling album to date, still went triple Platinum in the US. So let’s just say that the old Taylor can’t come to the phone right now – ‘cause she’s busy writing songs that suit her again.


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It has been through their subtle imagery that Bon Iver’s albums have followed a flawless pattern. 2008’s For Emma, Forever Ago painted a bleak winter, the eponymous follow-up evoked a frenzied spring, and 22, A Millionfound Bon Iver in the full bloom of summer. We now approach autumn in the world of Bon Iver, a new season that doesn’t arrive without its own set of chaos. Introduced by “Yi” and sharply followed by “iMi," both tracks are illustrated by a daunting and echoing radio static which carries the distorted vocals on its burdened shoulders. The lyrics “I like you / And that ain’t nothing new” as the song draws to a close provide a stark comedown from all the madness. It is not all chaotic, however. Moments of atmospheric bliss that have become commonplace on Bon Iver records are still intact on this instalment. “Faith” is emphasised by an impactful, crashing crescendo, whilst “Holyfields,” with its climbing synths paint a steady and assured track. Tangled in amongst the usual quirks of Bon Iver’s craft lie moments of sheer pop genius. “Hey, Ma” being the most exceptional. A song fit for radio and the pinnacle of easy listening, it further demonstrates their universal appeal. “U Man (Like)," though contrasting many of Iver’s previous work, is nothing short of remarkable. The pop-esque melodies and the cool and sophisticated feel make it truly irresistible. This is an album that you can feel as well as experience, perhaps the most complete Bon Iver album to date. Justin Vernon’s emotive approach to the album balances the individual and the communal with perfect precision. With a firmer grasp on reality and a new and brighter perspective, a unique mix of creativity and bewilderment remains at the core of Bon Iver.


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The bedroom-pop songs that Clairo, née Claire Cottrill, has released since her 2017 breakout, “Pretty Girl,” have often seemed like they’ve been transmitted from behind a glass wall. Mining the pain of adolescence, and her generalized lyrics can have a distancing effect. So, it’s surprising when the 20-year-old opens her debut album, Immunity, by revisiting the night a friend prevented her from committing suicide. The rest of the album is just as raw and covered in open wounds. Produced by former Vampire Weekend member Rostam Batmanglij, Immunity is steeped in warm acoustics, a sharp pivot from the synth palette that Clairo has previously favored. At the center of it all, though, is Cottrill herself. Her characteristically impassive vocal strikes a poignant contrast with her lyrics. On “White Flag,” her voice icily glides over reedy guitars and synths as she laments, “I was 15 when I first felt loneliness.” Cottrill, who came out as bisexual last year, embraces her sexuality in a way that’s pensive and unreserved. “Sofia” conjures a sweet vision of young queer love over a chugging, anthemic guitar: “I think we could do it if we tried/Sofia, know that you and I shouldn’t feel like a crime.” “Bags,” finds Cottrill navigating the line between friend and lover with a crush who could be straight. Her approach pinpoints ephemeral moments with a wide-eyed recollection: the sensation of fingertips on her back, a mane of hair blowing in the wind, a love interest standing in a doorway. In spite of its title, the central theme of Immunity is fragility. Time and time again, Cottrill reveals how susceptible she is to unshakable loneliness (“White Flag”), the inevitable growing apart of young lovers (“Impossible”), the physical limitations caused by her rheumatoid arthritis (“I Wouldn’t Ask You”). But it’s evident that Cottrill is done feigning immunity. Life, Cottrill tells us, is full of loose ends, lingering emotions, and unfinished business. When reconciling these limitations proves difficult, if not impossible, Cottrill turns inward to find a sense of certainty to hold fast to.


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Lil Nas X’s “Old Town Road” has burrowed itself into the consciousness of an entire nation, managing to stay at No. 1 for countless weeks and elbowing out Elmo on the elementary-school popularity index. It’s part luck, part genius, part of the YeeHaw agenda, a song so unstoppable, it has actually shifted the status quo of country music and is currently one of the biggest singles—and memes—of all time. On Lil Nas X’s debut 7—a 19-minute EP bookended with the Billy Ray Cyrus remix and the original version of “Old Town Road”—he opens himself up to the criticism that “Old Town Road” bypassed. Each new song on 7 is an attempt at stumbling into another lighthearted hit. We don’t learn a single thing about Lil Nas X on 7 other than he might have actually been born in a Reddit test tube in 2018. His collaborations with the production duo Take A Daytrip are soulless. On “Panini,” Lil Nas X has a droll personality unaided by the gimmicks of his signature hit. So it makes sense that “Rodeo,” his second track with Take A Daytrip, is a desperate return to the bulletproof cowboy persona. “Rodeo” hits all the beats of 2018’s “Mo Bamba” and feels like Lil Nas X just praying that the “Old Town Road” goodwill has enough legs to latch onto this single. It probably does. For the entirety of 7, it’s unclear if Lil Nas X actually likes music. He uses a lazy, out-of-tune melody on the reflective “Kick It,” a song that looks back on the past six months. Then, there’s the sloppy finale “C7osure (You Like),” which sounds like B.o.B. got hired to make a J.C. Penney commercial in 2010. Eventually, one of these songs on 7 will draft behind the still-overwhelming charm of “Old Town Road” and find success of its own, and Lil Nas X will be there online, with his savvy internet wit, ready to saddle up and burn another meme to the ground. What he lacks in musicality he makes up for in Instagram followers, boots he can strap on whenever he needs to remind people that he’s the great unifier, the one who tore down the walls of a genre. When that’s all over, what’s left will be “Old Town Road,” an all-time hall-of-fame pop hit that will one day be explained with an “I guess you had to be there.”


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There is transformative power coursing through the 12 songs on Emily Alone, the new album from indie-folk project Florist. It’s not loud or showy or self-serving or generous. It’s just there, simple and plainspoken, waiting to be engaged and willing to move through anyone who needs it. Presumably, that’s what happened to Emily Sprague, the singer-songwriter named in the album’s title. Last winter, she wrote and recorded Emily Alone during a period of isolation and personal reflection spurred by the death of her mother and a move across the country. On Emily Alone, Sprague strips down her songs to their barest elements, leaving only her voice, words and plucked acoustic guitar to carry the message. What’s left is not just bedroom-recorded confessional music, but pure introspection, confusion, and emotion rubbed raw and exposed to the world. These songs are not sad so much as they channel the ebbs and flows of life lived inside a human brain with startling accuracy. “I write and I read / I spend time in the sea, but nothing brings clarity to what makes me me,” Sprague sings in “As Alone,” the album’s opener. She knows enough, though, to comfort herself from the second-person point of view later in the song: “Emily, just know that you’re not as alone as you feel in the dark,” she sings over and over as her guitar seesaws back and forth between two chords. The songs on Emily Alone sound similar to one another. But listen closely and you’ll find their subtle differences. There are tracks that are more melodic, such as “Moon Begins,” with its hypnotic finger-picking and airy chorus about death and love, and “Now,” which pairs the album’s catchiest melody with a traditional-sounding folk-guitar pattern. On “Ocean Arms,” Sprague hangs the faint drone of a synthesizer behind her whispered vocals: “Why do I feel so happy when I stare at the ocean?” she sings. “Then devastated when I stare at the ocean?” Does this sound like something that would appeal to everyone? Perhaps you have to be in the right place for Emily Alone to impact you fully. But if you’re there, you’ll feel it. And if you’re not there, that’s OK. When you’re ready, Florist will be there waiting for you.


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“I got high expectations. You’re gonna have to get this right”. On her highly anticipated debut album, Mabel opens with what seems to be a sentiment aimed at herself more than anyone else. A rising star in the UK’s music scene, the 23-year-old comes from a musical dynasty so the pressure to perform comes down on her twofold and, thankfully, she doesn’t let us down. There’s a natural coolness to Mabel. Raised in Sweden by her parents Neneh Cherry – yes, the Neneh Cherry of Buffalo Stance fame – and Cameron McVey, who produced albums for Massive Attack and All Saints, and carrying a north London twang, she had no chance of being anything but compelling. Where most artists her age would have had to cut their teeth on cutesie tunes for a younger audience, she cuts straight to the chase with this slick and very mature R&B album. "Don’t Call Me Up," a dancehall-inspired pop rocket, is undoubtedly one of the songs of the summer – nay, the year – with its anthemic chorus and cataclysmic, bass-heavy breakdown that causes a tremble on the dance floor. Using attitude as armour, she delivers an all or nothing stance on the pulsating and self-destructive "We Don’t Say," which sounds like a response to the narcotically-charged music of The Weeknd, and running off a recharged playground chant and clap beat, she taunts a lover into giving her more on "Selfish Love." On ballads like "Trouble" and "I Belong To Me," she lets down her guard and gives an insight into her more sensitive side. In these raw moments, she cuts back on the low-slung, slurred affectations – ones that Ariana Grande favours on her latest albums – and puts more power into her vocals. Very much a zeitgeist pop star, Mabel has tapped into the unfazed pop style that singers like Dua Lipa, Rihanna and, more recently, Billie Eilish have been flooding the charts with for the last couple of years. Unfortunately, this means that the production on the album feels too safe or too familiar at times. Few songs on the record pound as hard as "Don’t Call Me Up" but as she progresses in her career, hopefully she’ll stop riding the popular chart trends and will soon be the one who creates them.


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“Slow Mover” is more than just one of the titles on Australian singer-songwriter Angie McMahon’s exceptional debut. It also describes her measured and deliberate career so far.  But despite the simmering burn it took to get here, and the unhurried roll out that makes Salt one of the most anticipated releases by a new artist, the final product was worth the wait. On the opening track, you get a microcosm of McMahon’s approach to her career and music. It starts with the ragged unaccompanied strumming of an electric guitar as McMahon whispers the lyrics immediately enticing the listener into her sphere. Drums and bass then gradually enter as momentum builds and McMahon’s husky yet reserved voice raises like a ghost taking human form as the track closes like it began. It’s an unexpected way to open an album. But as these unusually constructed songs unwind and McMahon’s vocals take the spotlight, it’s clear she’s an artist forging her own path. It takes until the third track, “Keeping Time,” for the pulse to increase into a more indie rocking style as she nearly howls “I’ve done me harm” as the band thumps behind her. Her songs twist, turn, revolve and unwind eschewing standard structures; it’s music played by traditional instruments never quite assembled this way. There’s drama and power that’s never forced or affected.  McMahon’s songs are about relationships, not exactly unique subject matter. Still, the way she expresses herself lyrically and especially vocally forges fresh, introspective and painfully personal ways of addressing the topic. The ten tracks lead up to a closing, seven-minute epic “If You Call” where McMahon again dissects a romantic entanglement with “I’m putting down the habit … of looking back on all of it and wishing I had done better” as she both whistles and moans the words against raw acoustic strumming. It’s a practically solo performance that feels as if you’re sitting in her bedroom as she unravels the tune for you only.  This is clearly an album to be absorbed, perhaps alone, as you read the words and let the music wash over you, taking you places few singer-songwriters dare to explore, let alone those on their first albums.


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Hip-hop's good guy has a confession to make. Yes, Chance the Rapper — the church-going, gospel-inclined, typically chipper MC — has learned the hard way about being a better husband. On "We Go High," a key track from new LP The Big Day, Chance reveals fresh blemishes on his seemingly squeaky clean image. Over forlorn horn samples and high-pitched percussion that pops and clunks in grippingly distinctive fashion, Chicago's golden boy spits about transgressing and drifting far enough from his wife that she treats him like she's "celibate" before nimbly rhyming that word with the "elephant" haunting every room of their home. It's but one of the many fearlessly soul-bearing, sonically unique highlights on this 22-track LP. Chance spits unflinchingly vulnerable bars on "Do You Remember" and "5 Year Plan." He also balances the trouble-in-paradise revelations of "We Go High," with the martial bliss of "Found A Good One (Single No More)," making for a viscerally relatable narrative. Not merely one, but two indie rock gods grace "Do You Remember." Death Cab for Cutie's Ben Gibbard offers a reliably earnest and heart-wrenching chorus, while the alpha to his omega, Justin Vernon (aka Bon Iver) serves up distorted snippets of backup choir singing, like gusts of wind that'll send shivers up your spine. Megan Thee Stallion steals the show on the mellow "Handsome" with gleefully empowering lines like "Bad bitch with a lot of options / After me, it's really hard to top it." The guests offer a vast spectrum of sounds to The Big Day, ensuring its hour-plus runtime never bores. En Vogue's turn on "I Got You (Always and Forever)" brings '90s New Jack Swing back to life with an elegant vengeance, while the aforementioned "Do You Remember" would fit snugly on both any indie rock and hip-hop playlist. So yes, 22 tracks is a lot. But unlike other lengthy recent rap albums (*cough* Scorpion), The Big Day has enough ideas, sounds and flows to justify its vast breath. What's more: it finally gives us a glimpse at Chance's multitudes, letting us accompany him to the altar and the confessional, instead of restricting him to the pulpit.


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The singer-songwriter’s debut LP, Freya Ridings, combines six previously released singles and six new offerings. Ridings showcases the fact that she’s written all 12 songs herself, collaborating along the way with in-demand producer Greg Kurstin (Maggie Rogers, Adele) and others. Ridings’ admirable creative control gives the album a cohesive tone and thematic scope, but it also permits stretches of repetition and the occasional cliché. Though she explores heartbreak and longing by probing surprisingly dark corners of her psyche, the album’s steadiness of vision renders the product of that exploration somewhat monochrome. Opener “Poison” greets the listener with a coy fake-out: Ridings begins with a delicate piano melody hinting at a somber, stripped-down track in the vein of “Lost Without You,” but after a suspended chord at the end of the first verse, the track exhales into a tantrum of thudding drums, anxious string bowing, and dramatic keyboard chords. In Ridings’ songs, love is torture, and crushing on someone is a form of noble suffering. Motifs of fire and blood run through her lyrics, conjuring a gothic atmosphere that draws the listener in but also starts to feel predictable. “Castles” and “Love Is Fire” create upbeat self-empowerment anthems out of this intensity, while “Blackout” and “Ultraviolet” find Ridings in her comfort zone, dwelling in romantic angst at the piano. Although Freya Ridings suggests room for growth, it also hints at the artist’s willingness to tread new ground, even if it feels a bit shaky at first. The striking “Holy Water” suggests an instinct for stylistic experimentation that remains latent on some of the album’s more monotonous tracks. With handclaps, tambourine shakes, and energetic backing vocals, the song references religious revival music to conjure a satanic vision of romantic obsession: “You keep me holding on / To the devil that I love in you.” Ridings possesses plenty of innate talent but, equally as important, a willingness to take risks that are necessary for creative evolution.


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Inner Monologue II is filled with tales of insecurity and despair which are set against uplifting melodies, clever and witty arrangements.  The extended play opens with "17" where the singer-songwriter muses on how life and love is easier when you are at that ‘in-between’ age.  The track sets up the feel of the rest of the virtual disc. By the time you reach the end of track three, "Hurt Again," you find yourself feeling so much empathy for the voice you are hearing and the stories it tells. In "Body," the fifth track, Julia explores the warped perspective of one’s self and emotional fallout when your view clashes with that of others, especially those closer to you. It’s heart-wrenching. As the EP Steam rolls towards the closing, the tide starts to turn and you get a glimpse of the singer’s anger. With "Priest" and "Shouldn’t Have Said It" you feel the fury and ultimately the remorse. The collaboration with ROLE MODEL, "Fucked Up, Kind" is the most commercial of all the tracks with its beat and chord progression. It is perfectly placed, but Julia still doesn’t stray from the theme of her inner voice.  The lyrics are centred in self-deprecation and are defeatist in nature, which plays perfectly with the soft and understated tone of the vocals. Julia, or the character she may be embodying, has had a tough time, but those turbulent conditions and a perfect emotional storm has given birth to true musical inspiration. There is youthful angst without screaming or shouting, there is sadness without tears and there is a sorrow without bitterness.  The feel of the eight tracks is very much a reflection of the title; there is a feel that, at times, you are privileged to hear the thoughts and feelings of the protagonist. It’s not always an easy rider, but the journey is worth taking.  This is in no way your typical paint by numbers chart hit assured mix, not by any stretch of the imagination. It’s rooted in pop, but it is much more. Greyer and colder than you’d expect from the genre. Julia Michaels smashes you against her rocks with siren songs and as you slip below the surface you are submerged by the dark side of pop.


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Late Night Feelings does exactly what it says on the tin, as it elicits reminiscent feelings of past affairs and heartbreaks over the course of the album. Simply lie back, dim the lights and listen alone, as a sense of longing shrouds you in a haze, and memories of lost loves lazily float to the surface. Aptly described as a collection of “sad bangers," the project is a series of lyrically heart-wrenching tunes backed with powerful beats and complex guitars, plus a touch of Mark Ronson’s infamously eclectic mix of sounds and effects. "Late Night Prelude" ripples fancifully with a menagerie of far-flung strings into title track "Late Night Feelings" with Lykke Li, the already much-loved groovy number, comprising of steel drums, pan-pipes and funky bass. "Find U Again" introduces Camila Cabello for an oozing, cheese pop number. "Pieces of Us" is a woozy tale of subtle limerence backed by distant, ethereal synths as King Princess croons, “All of my love, swing and a miss when we talk”. YEBBA brings honeyed, gospel-funk infused harmonies on "Knock Knock Knock" before launching into the wistfully soul imbued ballad "Don’t Leave Me Lonely." She continues her journey of desire and muted despair on "When U Went Away" before Alicia Keys and The Last Artful, Dodgr pack a poignant punch, trading verses on "Truth." "Nothing Breaks Like a Heart" is an infectious, country-tinged track reminiscent of First Aid Kid, and melds flawlessly into the eerily upbeat "True Blue" with Angel Olsen’s indie folk hums. Whilst the album alone is a standout piece of work - and perhaps some of Ronson’s finest to date - particularly in its stunning composition, richly diverse sound and endemic melodies, what is most notable about this record is his choice to work with such a beautifully divergent range of female artists from all walks of life; this creates the project’s uniquely divine temperament. Ronson’s ability to tap into each artist’s strengths and dig out their particular prowess allows each voice to shine through and own each individual track. This is what elevates the record to a guaranteed award winner and a truly empowering listen.


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