I've been a-blogging about music at This Hear Overlap dot com with my friend Lisa, and this is what I've been listening to this week if you're interested.
KIROKAZE
2025 on Tumblr: Trends That Defined the Year
AnasAbdin

izzy's playlists!
let's talk about Bridgerton tea, my ask is open
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ojovivo

if i look back, i am lost
I'd rather be in outer space 🛸
h
sheepfilms
Claire Keane
Aqua Utopia|海の底で記憶を紡ぐ
almost home

blake kathryn

Discoholic 🪩
Cosmic Funnies
Cosimo Galluzzi

ellievsbear
$LAYYYTER
seen from Singapore
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seen from United States
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seen from Iraq

seen from Iceland

seen from France
seen from United States
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seen from Türkiye

seen from Finland

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seen from Türkiye
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@grinandberit
I've been a-blogging about music at This Hear Overlap dot com with my friend Lisa, and this is what I've been listening to this week if you're interested.
Holy cow! Apparently JVM used 50 mandolins on this track!
Really excited to finally see new things from Matthew Hegarty. It sounds so much more polished, sweeping, and bigger. I'm really looking forward to hearing more.
I saw Matthew and the Atlas play a park in June 2011 up in the mountains of Telluride, Colorado and it was absolutely fantastic. If you ever get the chance.. etc. etc. They're great.
Haunting and oh so perfectly melancholy. Brett Detar's album is free on his website right now and you should probably get it because it's great.
Megan and I went to Cannes last May with Stella and had a chance to see the new Cohen Brother’s film Inside Llewyn Davis, and as with a lot of great modern film makers the music stayed with me longer than the movie itself. I started looking into some of it and came across the old song Fare Thee Well (Dink’s Song). Listening to it one evening I thought it strange that it was sung by men but had the line
I’ve got a man, he’s long and tall Moves his body like a cannon ball Fare thee well, oh my honey, fare thee well
Seeing that, I knew it must have been written by a woman and did some research, what I found was a story as good as the song. It goes:
There is a musical ethnographer named John Lomax and he is going around southern Texas recording slave songs on a new Edison recorder, the year is 1908. He goes into the levee-building outfit of the Mississippi River Delta, asks the boss there who the best singer in camp is, “That would be Dink” the boss says. Story goes that Dink came down the river from Memphis, shipped along with the mules and iron scrapers, treated like any other piece of cargo. John ambles down to the river, finds Dink washing her man’s clothes and inquires if he could record her singing some songs. Dink squinted against the sun and turned back saying, “Today ain’t my singin’ day.” Upon further urging Dink relents and mentions that a pint of gin might loosen her pipes. The pint of gin procured from the commissary and the Edison recorder on, Dink sings her haunting song of despair. A woman in need, left abandoned at her most vulnerable.
One of these days and it won’t be long Call my name and I’ll be gone Fare thee well, oh my honey, fare thee well
I remember one night, a drizzling rain Round my heart I felt a pain Fare thee well, oh my honey, fare thee well
Well Lomax took the song home and his family (the musical kind) loved it. They learned it by heart, sang it to each other, hummed it on Sunday’s. Played the Edison recording so much it broke, vanished forever. Years later Lomax goes down to the Levee asks around for Dink, has the pint of gin with him for good measure, “When I went to find her in Yazoo, Mississippi, some years later, her women friends, pointing to a nearby graveyard, told me, Dink’s done planted up there.’ I could find no trace of her little son who ‘didn’t have no name.’
And so Dink lives on, if only inside the parenthesis of a song title some 100 years later.
Joel and Ethan Coen’s new film looks at the early-’60s Greenwich Village folk scene, as populated by a brooding moocher played by singer-actor Oscar Isaac. Its soundtrack, like the movie itself, reflects the way many different strains of folk music collided in the early ’60s.
Stream the Inside Llewyn Davis soundtrack from NPR’s First Listen.
Guys, this album is so great.
Noah Gundersen - LEDGES Album Trailer
I’m not exaggerating when I say I’ve never been more excited about an official full length debut. So many years in the making… 2.11.2014.
^^ FOR REAL.
Might be my album of the year
ditto ^^
Probably my favorite song of late, with one of my favorite voices. If you've never seen Nathaniel Rateliff live, do yourself a favor. He sings with a gritty, growly openness and belts it like no one else. I think this Sideshow Alley session was recorded on the Communion Music: Austin to Boston tour which I got to see when they came through Minneapolis a while back. Nathaniel dropped a new album today - which was a total surprise to me. Thankfully this song is on it so I bet it's just perfect.
CHVRCHES’ debut showcases a band that bridges styles and eras on the strength of its own charisma. Though it can be ominous, even aggressive, the band’s electro-pop songs maintain a disarming fizziness.
Stream The Bones of What You Believe now.
yessss
Aaron Embry is my favorite this week. This woozy, airy, and saloon-y piano is just perfect for the lightness and fullness and sweetness of the lyrics. I've been meaning to listen to his album Tiny Prayers for a while now and this prettiest song is the perfect way to dive in. Happy Monday, folks.
Funeral Blues by W. H. Auden read by Tom Hiddleston
Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message ‘He is Dead’. Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last forever: I was wrong. The stars are not wanted now; put out every one, Pack up the moon and dismantle the sun, Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.
yowza.
That bright, wobbly, woozy guitar part is totally killer and I guess I've probably listened to this song 12 times today already..
Chvrches, “The Mother We Share"
The Mother We Share - CHVRCHES
Yowza this one is good. I can only imagine how great it would be to see these guys live, not to mention those fabulous Scottish brogues. I'd probably even go just for that, let's be real.
I really have no clue these days how many times I've posted something about Phosphorescent on all my various methods of social media, but after listening to this new album 'Muchacho' I can tell you that it most likely is going to be one of my favorite albums of the year. I think it's still up on NPR's First Listen for the time being - album drops on March 19th and you better believe I will be purchasing at least one copy, you should too.
I've been in a dancing mood lately, positively itching for spring, and this song "Ride On/Right On" perfectly encapsulates that groovy, woozy/waltzy, spring-fevery feeling. I'm a fan, you guys. Ride on/right on, Phosphorescent.
OHHHHH man, am I excited for this. I don't think there is even one song on Dawes' two albums and three Daytrotter sessions that I don't like. New album dropping April 9th.
(Also, can we just talk about how crazy of a musical hotbed Asheville, NC is?! So cool.)