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submitted 22 hours ago by monica_b1998@lemmy.world to c/music@lemmy.world
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One of my favorite artists right now. Her new album comes out 22nd May.

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She is singing we will run fucking run end of the song bit puzzled about it what is your take

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submitted 1 day ago by Danny220@lemmy.zip to c/music@lemmy.world
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It’s the Scottish duo’s first LP since 2013’s Tomorrow’s Harvest

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submitted 1 day ago by caos@feddit.org to c/music@lemmy.world
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Fast and furious I drive

Alone and always alive

Phone says I got skills

Needed to pay mi bills

Will power is a muscle

Learn a-how to hustle:

One step at a time, go

Make yu make ur flow

Steerin' wheel in hand

Join the fucking band

Jugle? Also a way up!

Struggle fills your cup

But when it falls apart

Go an' drive your heart

Starting w feeling soul

Healing ur self is goal!

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Heathcliff, it's me, I'm Cathy I've come home, I'm so cold Let me in your window

Ooh, let me have it Let me grab your soul away Ooh, let me have it Let me grab your soul away You know it's me, Cathy

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submitted 2 days ago by Babalugats@feddit.uk to c/music@lemmy.world

cross-posted from: https://feddit.uk/post/47844639

This May, millions of people are expected to tune in to the 70th Eurovision Song Contest. For the third consecutive year, they’ll find Israel celebrated onstage despite its ongoing genocide in Gaza, while Russia remains banned for its illegal invasion of Ukraine.

As musicians and cultural workers, many living within the reaches of the European Broadcasting Union (EBU), we reject Eurovision being used to whitewash and normalise Israel’s genocide, siege and brutal military occupation against Palestinians.

We stand in solidarity with Palestinian calls for public broadcasters, performers, screening party organisers, crew, and fans to boycott Eurovision until the EBU bans complicit Israeli broadcaster KAN.

We applaud the principled withdrawals of the Spanish, Irish, Icelandic, Slovenian, and Dutch broadcasters, and the many national selection finalists committing to refuse to go to Eurovision. Just as artists stood against oppression in South Africa, we stand together now.

Apartheid Israel’s president Isaac Herzog – named in South Africa’s submission to the International Court of Justice for inciting to genocide – has played a leading role in lobbying broadcasters not to ban Israel from the contest, the world’s most-watched live music event.

The EBU's hypocritical responses to Russia’s and Israel’s crimes have removed any illusion of Eurovision's claimed “neutrality”. In 2022, the EBU said that Russia’s presence would “bring the competition into disrepute”.

Yet more than 30 months of genocide in Gaza – alongside ethnic cleansing and land theft in the besieged West Bank – aren’t considered sufficient to apply the same policy to Israel.

How can any performer or Eurovision fan in good conscience participate at the contest’s next edition in Austria amidst US-Israeli plans for hyper-surveilled concentration camps in 'New Gaza'? There are moments in time when passive silence is not an option.

We refuse to be silent when Israel’s genocidal violence soundtracks and silences Palestinian lives. When children in Israeli prisons endure beatings for humming a tune. When all that’s left of nearly every stage, studio, bookshop and university in Gaza is piles of rubble, under which slaughtered bodies still await recovery and proper burial.

As artists, we recognise our collective agency – and the power of refusal. We refuse to be silent. We refuse to be complicit. We call on others in our industry to join us. And we stand in solidarity with all principled efforts to end complicity in every industry.

No stage for genocide. #BoycottEurovision.

Initial Signatories include Brian Eno, Massive Attack, Sigur Rós, Nadine Shah, Idles, Young Fathers, Kneecap, Erika de Casier, Paul Weller, Mogwai, Smerz, Nemahsis, Macklemore, Roger Waters, Peter Gabriel, Primal Scream, Ólafur Arnalds, Of Monsters And Men, Paloma Faith, Black Country New Road, Salute, David Holmes, Dry Cleaning, Hot Chip, Midland, Olof Dreijer from The Knife, Mechatok, Lido Pimienta and former Eurovision winners Emmelie de Forest and Charlie McGettigan

SIGN THE STATEMENT

GEOBLOCK YOUR MUSIC

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The opener of her album "Lotus". My album of the week 💚

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submitted 2 days ago by zecg@lemmy.world to c/music@lemmy.world
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submitted 2 days ago by zecg@lemmy.world to c/music@lemmy.world

Kronstad 23 return with Dødehavet, the Norwegian quartet’s third album and first release on Batov Records. Continuing their instinctive, analogue-led approach, the record sits between cinematic jazz and psychedelic rock, threaded with Scandinavian folk and wider global influences. Recorded live to tape with minimal preparation and no modern studio intervention, Dødehavet captures a band working on feel, interaction and momentum rather than polish or precision.

Despite living at opposite ends of Norway, old friends Øyvind Arnodd Vie Berg (keys), Alexander Tøsdal Tveit (guitar, sitar), Eirik Rømcke (bass) and Hans Christian Dalgaard (drums, percussion) conceived the album almost casually, sketching the idea of a reunion over a drink before committing quickly to writing and recording. Sessions took place at Berg’s home studio in Bergen, with the quartet working fast, relying on intuition and shared musical language rather than extensive rehearsal or post-production.

The group’s first two albums earned rave reviews from Record Collector, Prog Magazine and Sweden’s Lira, with Record Collector praising their “funky, atmospheric and understated” sound and describing the debut as “one of the warmest gatherings of instrumental jazz to be heard this year”. On Dødehavet, Kronstad23 lean more decisively towards groove and collective propulsion, expanding their palette without sacrificing the immediacy that defines their sound. While still largely recorded in single takes, the album is given added heat by contributions from saxophonists Håvar Skaugen and Inge Weatherhead Breistein.

Recorded with all four core musicians playing together in the same room, Dødehavet avoids sterile production in favour of a raw, direct sound. Tracks typically begin with a simple idea — a bassline, melody or chord sequence — before being allowed to unfold naturally through collective playing. Most pieces were captured in one or two takes using a 50-year-old mixing console and tape recorder, deliberately resisting contemporary studio techniques to preserve a timeless, lived-in character.

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