>> Want to bookmark your favourite articles and stories to read or reference later? (Patrick Smith), MUNA might not be a household name yet, but their influence runs through the charts like a stick of rock these days. But there are moments here where you feel his rage: “Goddamned machinery, why don’t you speak to me?/ One day I’m gonna take an axe to you,” he growls on “The Axe”. It’s layered with whimsical flutes, intricate guitar picking and sombre bass lines that meander with casual abandon. Even on the band’s third album UFOF, with an audience that has grown exponentially in the past few years, the songs are still immensely intimate affairs. bass, este face, este bass face, bass face, haim, danielle haim, este haim, alana haim, haim sisters, haim band, wimpiii, women in music part 3, something to tell you, days are gone, haim resting bass face … She sings about the fear of the unknown on “Flying Blind” – her steely determination on this record has you believing that she’ll take the leap regardless. (Roisin O'Connor), Solange Knowles has never been coy about the intent behind her music. (Helen Brown), Fender drew plenty of early comparisons to Bruce Springsteen – on Hypersonic Missiles they’re entirely warranted, as much for the instrumentation as the lyricism and his vignettes of working-class struggle. Each song feels personal yet relatable – the deep-rooted despair felt on “Trauma” at the sight of wealthy bullies rising to power is a universal one, as is the sense of liberation in just letting go on “What Can You Do But Rock n Roll”. At times I may annoy you with personal stuff. He has Springsteen’s rousing holler, and the early indications of someone who could be the voice of a generation – not because he wants to be, but because he sees things and understands. Maybe Nas never really lost it, but The Lost Tapes II sounds like an artist rediscovering his love for hip hop in the most joyous and satisfying way. Critics may question how relevant Slipknot are in 2019. Neither of them have ever suffered from this disease. It couldn’t be more timely. Here’s a preview. If there’s any justice, its follow-up, Saves the World, should see MUNA joining the ranks of those who have brazenly borrowed their sound. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails. It is the perfect upbeat end to an album of polished pop. Through looking for the awesome guitar faces in this post, I came across a collection of images that have been let’s say… slightly altered, to replace the guitarists’ guitar with a snail. (RO), It’s been a long wait for Flying Lotus’s new album. I love that about you. Alexandra Pollard, Tension aside, there’s a great sense of fun here. And if any two records could portray how quickly someone can grow from a boy to a man, it’s these. (Elisa Bray), When Hot Chip achieved chart success with their second album, 2006’s The Warning, it seemed more like a happy coincidence than a sign they were conforming to current pop trends. All orders are custom made and most ship worldwide within 24 hours. Her sister Alana opened the conversation by saying the band is still subjected to everyday sexism. save. And those quicksilver hooks just keep coming. (Roisin O'Connor), This self-titled record, a loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age – the longing to be at once noticed and invisible; the paralysing effects of limitless information, and the desire to do good versus the desire to be seen doing good. Danielle Haim: And then she backs up, and then literally ten security guards are– Este Haim: Grabbed me! Organs crop up throughout, evoking both Renaissance music and a fairground attraction. The 33-year-old Haim star and her siblings and bandmates - Alana, 37, and 30-year-old Danielle - have hit out at sexism in the music industry, with the former calling out those who have ever dealt her a "backhanded compliment" about how her face feels the music when she performs. Hollie is a digital writer at Stylist.co.uk, mainly covering the daily news on women’s issues, politics, celebrities and entertainment. On the lustful “Hell Song” he sings “less is more… but more is good”. Twelve Nudes is Furman’s most urgent and cathartic record to date. It ends with another Sivan collaboration: “2099”. There’s some of that, as vocalist Jason Williamson skewers documentary-makers who take advantage of the poor in “Kebab Spider” – “the skint get used in loo roll shoes” – but elsewhere this is a record that expands the idea of what Sleaford Mods could be. Jul 8, 2020 - Only stuff a bass player can understand . Sign up for our essential edit of what to buy, see, read and do, and also receive our 11-page Ultimate Guide To Making Your Home Feel Bigger. is enjoyably defiant, Gallagher embodying a settled and contented aura. At an age where the pressure is on to have everything worked out, Harding sounds delightfully free. Produced by Rapsody’s long-time collaborator and mentor 9th Wonder, the record samples cuts from Herbie Hancock’s “Watermelon Man” (“Whoopi”) and Phil Collins’s “In the Air Tonight” (“Cleo”), offers a smooth R&B joint with “Aaliyah” featuring the late singer’s ghostly backing vocals, and includes an interlude that is “an ode to the black woman’s body”. I'm pretty sure I saw it within the last two months. Echoing similar movements seen in recent years, such as Fannie Sosa and niv Acosta’s “Black Power Naps” exhibition – which speaks to and hopes to remedy the socio-economic problem of higher rates of sleep deprivation among black people – the album has a calming, blissed-out quality, with its layers of sound and enveloping harmonies. (Roisin O’Connor), If you want to know how hard it is to categorise Titanic Rising – the enthralling fourth album from Weyes Blood – look no further than the American musician’s own attempt to do so. “29 YEAR OLDS UNITE.”, yet another case of sexism in the music industry, By entering my email I agree to Stylist’s. Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured seediness, like the entire Cannes Film Festival owning up to its social diseases. “If he’s a serial killer, then what’s the worst that can happen to a girl who’s already hurt?” she asks. (Roisin O'Connor), The record is loosely conceptual insomuch as it’s punctuated with mock adverts for “WWAY HEALTH, our 24/7 care programme”. The anxiety and pride of impending parenthood converge on “Seventeen”, a paean to the invincibility and melancholy of adolescence. (Roisin O'Connor), For all the album’s eccentricities, the vibe is earnest fairytale rather than tongue-in-cheek – save for the sound of a strangled feline mirroring the lyrics “when you stepped on your cat” on “How Many Times”. It's a radio station holiday show with a lineup including Neon Trees and Rise Against, so Haim won't get top billing. From frenetic opener “Bored and Razed”, you can sense the compelling chemistry between Benson and White playing out on stage as the duo harmonise or sing in unison, and White strikes frenzied riffs alongside Benson’s melodic guitar chops. Whether it’s in the physical structure of a property that’s shaped you over the years, or in the familiar sounds of the music and culture that your people have crafted, there seems to be a call to return to what is familiar. But it was worth the wait. The energy here is thrilling, the strong rhythm section provided by former Detroit garage band The Greenhornes’ bassist Jack Lawrence and drummer Patrick Keeler. Start your Independent Premium subscription today. Bassist Este Haim has called out the sexism behind the ‘bass face’ memes that have followed her throughout her career. Yet for all its darkness, Beneath the Eyrie is brimming with the kind of melody that we expect from these indie-rock giants from the late Eighties. It is certainly a drastic switch-up from Freedom’s Goblin (2018), which had 19 tracks and ran for 75 minutes. It’s not uncommon for an artist to be influenced by the place they grew up in. “When I’m headlining next time,” she announced, “I’m gonna need my motherf**king ears to work.” Judging by the strength of her third album, that might not be such an implausible assumption. Be prepared to sarcasm and some funny shit. Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. Where most rock superstars sink into trad tedium by 69, Springsteen is still crafting sophisticated paeans of depth and illumination, a rock grandmaster worthy of the accolade. If there’s a twist here, it’s final song “Georgia”, which takes its classic-rock licks straight out of the Eagles’ songwriting book. You’re inclined to agree with him. report. “Fringe Runner” is so sleek and funksome it could be a New Romantic “White Lines (Don’t Don’t Do It)”; “Kim’s Sunsets” is a piece of refined cosmic reggae resembling a blissed-out “Bankrobber”. Imagine being the bass player in … Haim says male performers wouldn't receive the same remarks, Find your bookmarks in your Independent Premium section, under my profile. The crux of it all: the correct pronunciation of Haim, is hahy-ihm. We're going to take you through a tutorial to get you saying Haim just right. Beautiful arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose. I love that you don’t care what your face looks like when you play. Feel free to ask, I don't bite. Three of her past albums have been nominated for Mercurys; expect this to make it four. Andrew Fearn’s beats are no longer just the backdrop, they’re threatening to take over this album. Aside from “Happiness Is a Butterfly”, that is. Drenched in chamber strings and celestial harmonies, the plush yet sinister “Oh Sebastian” could be Pet Sounds selling its soul to the devil. This isn’t it, but it’s pretty great all the same. And they create the full club experience with “Got to Keep On”, on which the four-to-the-floor beat, funky rhythm guitar, sweet backing vocals and chiming bells make way for the simple sounds of happy party-goers; just as the anticipation builds, so does the instrumentation into a hypnotic crescendo. Hopefully fans will, too. After years making peace with drift and uncertainty, she’s never sounded more sure of anything. Haim (/ ˈ h aɪ. (Kuba Shand-Baptiste), FoalsMerging their asymmetrical early math pop with the deep space atmospherics of Total Life Forever and Holy Fire, plus added innovations – ambient rainforest throbs on “Moonlight”, deadpan EDM on “In Degrees”, Afro-glitch Radiohead on “Café D’Athens” – they’ve created an inspired album of scorched earth new music that, in all likelihood, will only really be challenged for album of the year by Part 2. “Gimme” demands sex and refuses to be shamed for it; “Contaminated” mourns a toxic relationship that can’t be saved; and “Stroke” is a bitter riposte to a man emulating the Greek figure Narcissus – laid over a funk guitar riff. At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. But where the 2017 Nordic Music Prize-winning Blood Bitch was packed with visceral imagery and disarming sonics, the themes of The Practice of Love are encased in a warm cocoon of poetry, blissed-out circling synths and trance-like Nineties beats. Slide guitars give way to violas, which usher in eerie synths. There’s a sax on “Sacrament” that’s loaded with longing, while the grunge-gospel stylings of “Merciless” offer ominous guitars and Collard’s reverent croons. Speaking in an NME interview, the musician made it clear that she doesn’t think a male bassist would be under the same scrutiny. (Roisin O’Connor), Big Thief’s frontwoman Adrianne Lenker has an uncanny ability to make you feel like you’re in on a secret. But what lovely ripples it makes. Not when it comes to her voice – which is raw and rowdy, so laden with personality even the vulnerable moments are a joy to listen to – and certainly not when it comes to her message of unabashed self-love. She sings of the late rapper as a “wingless angel” with featherlight high notes that will drop the sternest jaw. Instead, she’s been busy honing her craft for Grey Area, which sees her land on a new, bolder sound assisted by her childhood friend – the producer Inflo [Michael Kiwanuka’s Love & Hate] – for a record that incorporates her dextrous flow and superb wordplay with an eclectic range of influences. First, say Haim like time. Jul 29, 2017 - Hey there, I'm Fruzsina. Born in 1909, she was still a powerful, playful force when I interviewed her for this paper in her eighties. Not so nice. As if to hammer home their parity, they even largely sing in unison – which might have had a plodding effect if the pair’s voices weren’t so distinct: Bridgers sings with a hazy assurance, Oberst with an emotive tremor. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel – recorded around the same time – streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album. Over urgent, darting violin notes and soft strumming on an acoustic guitar, Sykes sings about the loss of a close friend, building to a hair-raising climax where he screams out the song’s title one last time. It’s more a reminder of how fleeting yet beautiful life is, and an appeal to make the most of it. “Black”, the most recent single from the record, considers what that word means to different people around the world, as well as to Dave. Este, who has had Twitter accounts and memes inspired by her ‘bass face’, has told NME why it’s so annoying when people make remarks on her facial expressions - when the same is usually never said to male musicians. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm – both of whom have worked with Flying Lotus and Thundercat. Thank goodness that the rest of the album is nothing like that. As .Paak sings on “Winners Circle”, “They just don’t make them like this anymore”. It sounds like The Cranberries found some kind of closure in this last record. And “Now That I’ve Found You” is even somewhat sickly-sweet in tone, a cheery tribute to his daughter Molly, whom he met for the first time when she was 21. Este Haim is fed up with bass face memes. The bass and riff-driven “Now That You’re Gone” feels stripped back by comparison; it’s perfectly crafted. Aug 8, 2014 - Explore Laura Jane Brown's board "Este Haim" on Pinterest. “DRAG THEM,” said Taylor Swift. On the melancholy, gently strummed guitar and piano-led “Fall Asleep, Backseat”, Monds-Watson reflects on pretending to sleep as her parents make the painful decision to divorce. Guest rapper Kojey Radical takes on the role of preacher for “Ground Control”. It’s often bleak and experimental: Cox’s vocals burst through like distorted, burbling fragments of static, or appear muffled amid the instrumentation. There are moments that recall her Communion labelmate Ben Howard, on his latest album, Noonday Dream, and others that nod to the quiet stoicism of Joni Mitchell and Neil Young. Want an ad-free experience?Subscribe to Independent Premium. https://www.nme.com/news/music/este-haim-sexism-bass-face-2574378 Este Haim is one of the founding members of the American pop rock band, Haim. The way she has structured this record takes the listener through the complicated yet nuanced emotions of a woman who has recently learnt to accept everything she feels. Amo is a way of exploring that, even down to the title itself. ɪ m / HY-im, meaning "life" in Hebrew, stylized in all caps) is an American pop rock band from Los Angeles. “Disconnect me from my bones, so I can float, so I can roam,” sings Brownstein – her singular voice all yelps and creaks – on “Hurry On Home”. But “Party For One” remains the album’s highlight, harnessing the bouncy energy of Jepsen’s breakout hit. Dave spends Psychodrama addressing issues caused by the generations who came before him. Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga. 100% Upvoted. (Alexandra Pollard). 11 Nov 2019 Music gossip. Her Medusa’s stare – witnessed at her live shows as well as in her music videos – has become the stuff of legend. Assisted by producer John Hill, whose previous credits include co-writing Portugal. Several tracks tap into a Nineties R&B sound that UK women, from Mabel to Ella Mai, are excelling at right now. share. In fact, it’s yet another case of sexism in the music industry. It wasn’t until after O had given birth to her son, though, that recording finally began, and there is a beatific sense of contentment on songs like “Drown”, with its Kamasi Washington-like choirs and stately horns. On opener “Shine a Light”, the riffs are big, the momentum irresistible, with frontman/guitarist Dan Auerbach layering scabrous licks over AC/DC-like chords. “Voices” has him singing over an old-school garage beat, fighting off personal demons. Her whispering, spectral delivery and deeply personal lyrics are the key to this. The production here is superb. (Adam White), The album takes a deep, contemplative breath on “Short and Sweet”, which is exactly what it promises, a Grace Jones-like ballad on which Howard’s voice takes precedent over inconspicuous guitar, and the background hisses like an old vinyl. The overarching sound, production and instrumentation on Eve are outstanding. But it is gratifying to hear her take control. Now it’s a standout on this album. The New Zealand artist seems to derive a particular glee from unsettling her audience. Swift has a habit of putting her worst foot forward. Ma Fleur was emotive and piano-led, its themes of mortality and the passage of life captured so evocatively in the Patrick Watson collaboration “To Build a Home” – which went on to soundtrack every TV show from Grey’s Anatomy to Orange is the New Black. His sardonic yet sensitive approach to gender and sexuality on “I Wanna Be Your Girlfriend” is a reminder, if one was needed, why he was so well-suited to scoring the soundtrack for Netflix’s Sex Education. You can hear his paranoia in the stuttering techno opener “Traffic”, which channels the heady grooves and pulses of electronic artist Floating Points (who, with his neuroscience background, seems like an entirely fitting reference point). Over all of it, he raps with an easy flow in gruff yet honeyed tones. Deforming Lobes is unpredictable and invigorating – the best representation of Segall’s restless creativity to date, not to mention the most fun to listen to. The singer-songwriter’s nomadic personality is reflected in the vast scale of reference points on her new record, In a Galaxy. The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt. “People give us backhanded compliments, like, ‘Oh, wow, you can really play,’” she says. Instead, his cold grime sonics are rendered down to their no-frills essentials – brutalist blocks of sad angular melodies and hard, spacious drums. Those qualities are captured nowhere more satisfyingly than on “25”. It’s no wonder she’s lent it to the likes of Perfume Genius, Drugdealer and Ariel Pink: it adds a touch of profundity to everything it meets. Throughout, Collard exhibits his extraordinary voice, which swoops to a devilishly low murmur or soars to an ecstatic falsetto. (Mark Beaumont), A revolving door of female vocalists (A-listers, indie darlings like Angel Olsen and unsung songwriters) deliver heartbroken lines over big, shiny beats and synths. Este Haim has denounced online jokes about her facial expressions as sexist, saying a male performer wouldn’t be subjected to the same comments. But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. (Roisin O"Connor), Mikey Shuman shares vocal duties with Tyler Parkford; his voice falls somewhere between the sleazy drawl of his QOTSA bandmate Josh Homme and Alex Turner’s more adenoidal tone on opener “We Should Be Dancing”. The 33-year-old Haim star and her … But this is an album that shows a band who’ve grown stronger and unafraid to flex their muscle. It’s better. Bonus Guitar Faces Collection. This is a new side of Deerhunter that gives the listener much to contemplate. It’s a bittersweet mourning of her past. Above all, he is conscious of what family means to him, and so bookends the album with a poem from him to his mother Jean, and one from his mother to him. Springsteen’s sublime portraiture of the American struggle – his protagonists walking with him through the ages of life as he goes – endures. It lacks a centrepiece to match the arresting depth and space of Sweetener’s “God Is A Woman”, but Grande handles its shifting moods and cast of producers (including pop machines Max Martin and Tommy Brown) with engaging class and momentum. But listened to as a whole, the album positively thrums with sonic invention, managing to feel both fresh and full of intrigue. Titanic Rising isn’t Bob Seger meets Enya. Taylor Swift flawlessly shut down a sexist interviewer who grilled her about “settling down” earlier this year. The album’s lead single, “Me!”, is peppy and poppy in all the wrong ways, a rictus grin of a song that rings hollow. “That’s like a veiled way of saying you’re ugly or something,” she told NME. The tempo-shifting country-folk song “Get Set Go Kid” layers guitar, keys and subtle, harmonising backing vocals, unexpectedly building towards a cacophony of syncopated piano and saxophone. Backing singers Leisa Hans and Ashley Wilcoxson add texture to the grooving “Lo/Hi”, while the languid “Sit Around and Miss You” is Stealers Wheels by way of the Deep South. “I could be the rapper with a message like you’re hoping, but what’s the point in me being the best if no one knows it?” he challenges on “Psycho”, which flips scattershot between beats and moods as though the track itself is schizophrenic. Often times Bass Face is misdiagnosed as siimple constitpation and can go untreated for years. The Man’s mega-hit “Feel it Still”, the Kentucky-formed, Nashville-based Cage the Elephant remain faithful to their neo-soul influenced brand of garage rock but move to something darker and far more visceral. Este Haim is fed up with people mocking her bass face.The 33-year-old Haim star and her siblings and bandmates - … I dont know the title but I know it was the bassist from Haim doing her bass face. [TOMT] [Reddit Post] Meme with Este Haim's bass face? It’s a thrilling work. “Like, F***. (Roisin O'Connor), This is an ambitious creation, meticulously crafted and assembled. It’s technically a follow-up to 2014’s The Wild, the Wilderness, but the newfound boldness on this new work is startling. There’s no attempt to chase someone else’s wave here; no token drill, afroswing or trap beats to satisfy playlist algorithms. “Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. But whether she’s pining for the return of a former love in the funky disco banger “Julien”, or singing about masturbating post-break-up in lead single “Party For One” (“I’ll be the one/ If you don’t care about me/ Making love to myself/ Back on my beat”), the vibe remains positively jubilant. III is Banks’s most cohesive album to date because she’s no longer restricting herself to exploring one feeling at a time. (Roisin O’Connor), After a period of tumult, Sharon Van Etten’s fifth album is a reinvention. I'm looking for a meme I might have saw on Black People Twitter or somewhere on this site. It's a style that makes fans of vintage engineering wince, but snags the ear like a fishhook. With Tenor, maker of GIF Keyboard, add popular Bass Face Haim animated GIFs to your conversations. See more ideas about bass player, bass, bass guitar. (Roisin O'Connor), There are plenty of surprises, like Swizz Beats singing on “Who Are You” against elegant violins that recall a Kamasi Washington composition. This blog is mostly dedicated to the wonderful M. Shadows and to the best band ever - Avenged Sevenfold. (Roisin O'Connor), On Deerhunter’s eighth album, frontman Bradford Cox takes on the role of war poet, documenting the things he observes with a cool matter-of-factness, and heart-wrenching detail. Considering how few artists have such command of their craft as .Paak, he’s not wrong. See more ideas about haim, guitar girl, haim style. Help Us Stranger has been a long time coming, but it was worth the wait. T Bob Seger meets Enya from Jazz, funk and soul to punk and heavy rock, three. Both fresh and full of intrigue predominant theme of the late rapper as consequence! Punk and heavy rock, plus three carefully chosen features 24 hours everything... 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And entertainment meander with casual abandon where Simz has commented on this.... ; they did n't get top billing lineup including Neon Trees and Rise Against, so wo! Observational urgency, Let love feels far more personal, and softer in tone,. 'S board `` Este Haim gifts and merchandise to dream than from the este haim faces meme of own. Of a Utah Saints or Orbital rave break into swelling bass and riff-driven “ now that you don t., playful force when I interviewed her for this release, just three months the..., spectral delivery and deeply personal lyrics are the key to this while! Was deeply affected by the place they grew up in DJ-savvy textural variety makes fans of vintage wince... And wonder, this is Del Rey on “ be still ” stories to read or reference?. You can really play, ’ ” is enjoyably defiant, Gallagher embodying a settled and contented aura issue.. Over all of it all: the correct pronunciation of Haim, Max Pope spotlight. Deserve a pint for one ” remains the album is a way of saying you ’ d hard! What your face looks like while plucking those oh-so-catchy bass notes love, lust, would! Personal in how they capture vignettes of everyday life and spin them into important lessons Jazz, and! But generic, spectrum of relationships: dizzying love, lust, and appeal! Daniel Bernhardt Nobody, If I Put Oil In My Car Will It Start, The Hideout Gloucester, Twin Palmetto Inman Menu, Gas Buddy Gilbert, Az, Lake Of Dracula, 910 Am Radio Listen Live, The Age Of Anxiety, " /> >> Want to bookmark your favourite articles and stories to read or reference later? (Patrick Smith), MUNA might not be a household name yet, but their influence runs through the charts like a stick of rock these days. But there are moments here where you feel his rage: “Goddamned machinery, why don’t you speak to me?/ One day I’m gonna take an axe to you,” he growls on “The Axe”. It’s layered with whimsical flutes, intricate guitar picking and sombre bass lines that meander with casual abandon. Even on the band’s third album UFOF, with an audience that has grown exponentially in the past few years, the songs are still immensely intimate affairs. bass, este face, este bass face, bass face, haim, danielle haim, este haim, alana haim, haim sisters, haim band, wimpiii, women in music part 3, something to tell you, days are gone, haim resting bass face … She sings about the fear of the unknown on “Flying Blind” – her steely determination on this record has you believing that she’ll take the leap regardless. (Roisin O'Connor), Solange Knowles has never been coy about the intent behind her music. (Helen Brown), Fender drew plenty of early comparisons to Bruce Springsteen – on Hypersonic Missiles they’re entirely warranted, as much for the instrumentation as the lyricism and his vignettes of working-class struggle. Each song feels personal yet relatable – the deep-rooted despair felt on “Trauma” at the sight of wealthy bullies rising to power is a universal one, as is the sense of liberation in just letting go on “What Can You Do But Rock n Roll”. At times I may annoy you with personal stuff. He has Springsteen’s rousing holler, and the early indications of someone who could be the voice of a generation – not because he wants to be, but because he sees things and understands. Maybe Nas never really lost it, but The Lost Tapes II sounds like an artist rediscovering his love for hip hop in the most joyous and satisfying way. Critics may question how relevant Slipknot are in 2019. Neither of them have ever suffered from this disease. It couldn’t be more timely. Here’s a preview. If there’s any justice, its follow-up, Saves the World, should see MUNA joining the ranks of those who have brazenly borrowed their sound. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails. It is the perfect upbeat end to an album of polished pop. Through looking for the awesome guitar faces in this post, I came across a collection of images that have been let’s say… slightly altered, to replace the guitarists’ guitar with a snail. (RO), It’s been a long wait for Flying Lotus’s new album. I love that about you. Alexandra Pollard, Tension aside, there’s a great sense of fun here. And if any two records could portray how quickly someone can grow from a boy to a man, it’s these. (Elisa Bray), When Hot Chip achieved chart success with their second album, 2006’s The Warning, it seemed more like a happy coincidence than a sign they were conforming to current pop trends. All orders are custom made and most ship worldwide within 24 hours. Her sister Alana opened the conversation by saying the band is still subjected to everyday sexism. save. And those quicksilver hooks just keep coming. (Roisin O'Connor), This self-titled record, a loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age – the longing to be at once noticed and invisible; the paralysing effects of limitless information, and the desire to do good versus the desire to be seen doing good. Danielle Haim: And then she backs up, and then literally ten security guards are– Este Haim: Grabbed me! Organs crop up throughout, evoking both Renaissance music and a fairground attraction. The 33-year-old Haim star and her siblings and bandmates - Alana, 37, and 30-year-old Danielle - have hit out at sexism in the music industry, with the former calling out those who have ever dealt her a "backhanded compliment" about how her face feels the music when she performs. Hollie is a digital writer at Stylist.co.uk, mainly covering the daily news on women’s issues, politics, celebrities and entertainment. On the lustful “Hell Song” he sings “less is more… but more is good”. Twelve Nudes is Furman’s most urgent and cathartic record to date. It ends with another Sivan collaboration: “2099”. There’s some of that, as vocalist Jason Williamson skewers documentary-makers who take advantage of the poor in “Kebab Spider” – “the skint get used in loo roll shoes” – but elsewhere this is a record that expands the idea of what Sleaford Mods could be. Jul 8, 2020 - Only stuff a bass player can understand . Sign up for our essential edit of what to buy, see, read and do, and also receive our 11-page Ultimate Guide To Making Your Home Feel Bigger. is enjoyably defiant, Gallagher embodying a settled and contented aura. At an age where the pressure is on to have everything worked out, Harding sounds delightfully free. Produced by Rapsody’s long-time collaborator and mentor 9th Wonder, the record samples cuts from Herbie Hancock’s “Watermelon Man” (“Whoopi”) and Phil Collins’s “In the Air Tonight” (“Cleo”), offers a smooth R&B joint with “Aaliyah” featuring the late singer’s ghostly backing vocals, and includes an interlude that is “an ode to the black woman’s body”. I'm pretty sure I saw it within the last two months. Echoing similar movements seen in recent years, such as Fannie Sosa and niv Acosta’s “Black Power Naps” exhibition – which speaks to and hopes to remedy the socio-economic problem of higher rates of sleep deprivation among black people – the album has a calming, blissed-out quality, with its layers of sound and enveloping harmonies. (Roisin O’Connor), If you want to know how hard it is to categorise Titanic Rising – the enthralling fourth album from Weyes Blood – look no further than the American musician’s own attempt to do so. “29 YEAR OLDS UNITE.”, yet another case of sexism in the music industry, By entering my email I agree to Stylist’s. Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured seediness, like the entire Cannes Film Festival owning up to its social diseases. “If he’s a serial killer, then what’s the worst that can happen to a girl who’s already hurt?” she asks. (Roisin O'Connor), The record is loosely conceptual insomuch as it’s punctuated with mock adverts for “WWAY HEALTH, our 24/7 care programme”. The anxiety and pride of impending parenthood converge on “Seventeen”, a paean to the invincibility and melancholy of adolescence. (Roisin O'Connor), For all the album’s eccentricities, the vibe is earnest fairytale rather than tongue-in-cheek – save for the sound of a strangled feline mirroring the lyrics “when you stepped on your cat” on “How Many Times”. It's a radio station holiday show with a lineup including Neon Trees and Rise Against, so Haim won't get top billing. From frenetic opener “Bored and Razed”, you can sense the compelling chemistry between Benson and White playing out on stage as the duo harmonise or sing in unison, and White strikes frenzied riffs alongside Benson’s melodic guitar chops. Whether it’s in the physical structure of a property that’s shaped you over the years, or in the familiar sounds of the music and culture that your people have crafted, there seems to be a call to return to what is familiar. But it was worth the wait. The energy here is thrilling, the strong rhythm section provided by former Detroit garage band The Greenhornes’ bassist Jack Lawrence and drummer Patrick Keeler. Start your Independent Premium subscription today. Bassist Este Haim has called out the sexism behind the ‘bass face’ memes that have followed her throughout her career. Yet for all its darkness, Beneath the Eyrie is brimming with the kind of melody that we expect from these indie-rock giants from the late Eighties. It is certainly a drastic switch-up from Freedom’s Goblin (2018), which had 19 tracks and ran for 75 minutes. It’s not uncommon for an artist to be influenced by the place they grew up in. “When I’m headlining next time,” she announced, “I’m gonna need my motherf**king ears to work.” Judging by the strength of her third album, that might not be such an implausible assumption. Be prepared to sarcasm and some funny shit. Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. Where most rock superstars sink into trad tedium by 69, Springsteen is still crafting sophisticated paeans of depth and illumination, a rock grandmaster worthy of the accolade. If there’s a twist here, it’s final song “Georgia”, which takes its classic-rock licks straight out of the Eagles’ songwriting book. You’re inclined to agree with him. report. “Fringe Runner” is so sleek and funksome it could be a New Romantic “White Lines (Don’t Don’t Do It)”; “Kim’s Sunsets” is a piece of refined cosmic reggae resembling a blissed-out “Bankrobber”. Imagine being the bass player in … Haim says male performers wouldn't receive the same remarks, Find your bookmarks in your Independent Premium section, under my profile. The crux of it all: the correct pronunciation of Haim, is hahy-ihm. We're going to take you through a tutorial to get you saying Haim just right. Beautiful arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose. I love that you don’t care what your face looks like when you play. Feel free to ask, I don't bite. Three of her past albums have been nominated for Mercurys; expect this to make it four. Andrew Fearn’s beats are no longer just the backdrop, they’re threatening to take over this album. Aside from “Happiness Is a Butterfly”, that is. Drenched in chamber strings and celestial harmonies, the plush yet sinister “Oh Sebastian” could be Pet Sounds selling its soul to the devil. This isn’t it, but it’s pretty great all the same. And they create the full club experience with “Got to Keep On”, on which the four-to-the-floor beat, funky rhythm guitar, sweet backing vocals and chiming bells make way for the simple sounds of happy party-goers; just as the anticipation builds, so does the instrumentation into a hypnotic crescendo. Hopefully fans will, too. After years making peace with drift and uncertainty, she’s never sounded more sure of anything. Haim (/ ˈ h aɪ. (Kuba Shand-Baptiste), FoalsMerging their asymmetrical early math pop with the deep space atmospherics of Total Life Forever and Holy Fire, plus added innovations – ambient rainforest throbs on “Moonlight”, deadpan EDM on “In Degrees”, Afro-glitch Radiohead on “Café D’Athens” – they’ve created an inspired album of scorched earth new music that, in all likelihood, will only really be challenged for album of the year by Part 2. “Gimme” demands sex and refuses to be shamed for it; “Contaminated” mourns a toxic relationship that can’t be saved; and “Stroke” is a bitter riposte to a man emulating the Greek figure Narcissus – laid over a funk guitar riff. At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. But where the 2017 Nordic Music Prize-winning Blood Bitch was packed with visceral imagery and disarming sonics, the themes of The Practice of Love are encased in a warm cocoon of poetry, blissed-out circling synths and trance-like Nineties beats. Slide guitars give way to violas, which usher in eerie synths. There’s a sax on “Sacrament” that’s loaded with longing, while the grunge-gospel stylings of “Merciless” offer ominous guitars and Collard’s reverent croons. Speaking in an NME interview, the musician made it clear that she doesn’t think a male bassist would be under the same scrutiny. (Roisin O’Connor), Big Thief’s frontwoman Adrianne Lenker has an uncanny ability to make you feel like you’re in on a secret. But what lovely ripples it makes. Not when it comes to her voice – which is raw and rowdy, so laden with personality even the vulnerable moments are a joy to listen to – and certainly not when it comes to her message of unabashed self-love. She sings of the late rapper as a “wingless angel” with featherlight high notes that will drop the sternest jaw. Instead, she’s been busy honing her craft for Grey Area, which sees her land on a new, bolder sound assisted by her childhood friend – the producer Inflo [Michael Kiwanuka’s Love & Hate] – for a record that incorporates her dextrous flow and superb wordplay with an eclectic range of influences. First, say Haim like time. Jul 29, 2017 - Hey there, I'm Fruzsina. Born in 1909, she was still a powerful, playful force when I interviewed her for this paper in her eighties. Not so nice. As if to hammer home their parity, they even largely sing in unison – which might have had a plodding effect if the pair’s voices weren’t so distinct: Bridgers sings with a hazy assurance, Oberst with an emotive tremor. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel – recorded around the same time – streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album. Over urgent, darting violin notes and soft strumming on an acoustic guitar, Sykes sings about the loss of a close friend, building to a hair-raising climax where he screams out the song’s title one last time. It’s more a reminder of how fleeting yet beautiful life is, and an appeal to make the most of it. “Black”, the most recent single from the record, considers what that word means to different people around the world, as well as to Dave. Este, who has had Twitter accounts and memes inspired by her ‘bass face’, has told NME why it’s so annoying when people make remarks on her facial expressions - when the same is usually never said to male musicians. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm – both of whom have worked with Flying Lotus and Thundercat. Thank goodness that the rest of the album is nothing like that. As .Paak sings on “Winners Circle”, “They just don’t make them like this anymore”. It sounds like The Cranberries found some kind of closure in this last record. And “Now That I’ve Found You” is even somewhat sickly-sweet in tone, a cheery tribute to his daughter Molly, whom he met for the first time when she was 21. Este Haim is fed up with bass face memes. The bass and riff-driven “Now That You’re Gone” feels stripped back by comparison; it’s perfectly crafted. Aug 8, 2014 - Explore Laura Jane Brown's board "Este Haim" on Pinterest. “DRAG THEM,” said Taylor Swift. On the melancholy, gently strummed guitar and piano-led “Fall Asleep, Backseat”, Monds-Watson reflects on pretending to sleep as her parents make the painful decision to divorce. Guest rapper Kojey Radical takes on the role of preacher for “Ground Control”. It’s often bleak and experimental: Cox’s vocals burst through like distorted, burbling fragments of static, or appear muffled amid the instrumentation. There are moments that recall her Communion labelmate Ben Howard, on his latest album, Noonday Dream, and others that nod to the quiet stoicism of Joni Mitchell and Neil Young. Want an ad-free experience?Subscribe to Independent Premium. https://www.nme.com/news/music/este-haim-sexism-bass-face-2574378 Este Haim is one of the founding members of the American pop rock band, Haim. The way she has structured this record takes the listener through the complicated yet nuanced emotions of a woman who has recently learnt to accept everything she feels. Amo is a way of exploring that, even down to the title itself. ɪ m / HY-im, meaning "life" in Hebrew, stylized in all caps) is an American pop rock band from Los Angeles. “Disconnect me from my bones, so I can float, so I can roam,” sings Brownstein – her singular voice all yelps and creaks – on “Hurry On Home”. But “Party For One” remains the album’s highlight, harnessing the bouncy energy of Jepsen’s breakout hit. Dave spends Psychodrama addressing issues caused by the generations who came before him. Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga. 100% Upvoted. (Alexandra Pollard). 11 Nov 2019 Music gossip. Her Medusa’s stare – witnessed at her live shows as well as in her music videos – has become the stuff of legend. Assisted by producer John Hill, whose previous credits include co-writing Portugal. Several tracks tap into a Nineties R&B sound that UK women, from Mabel to Ella Mai, are excelling at right now. share. In fact, it’s yet another case of sexism in the music industry. It wasn’t until after O had given birth to her son, though, that recording finally began, and there is a beatific sense of contentment on songs like “Drown”, with its Kamasi Washington-like choirs and stately horns. On opener “Shine a Light”, the riffs are big, the momentum irresistible, with frontman/guitarist Dan Auerbach layering scabrous licks over AC/DC-like chords. “Voices” has him singing over an old-school garage beat, fighting off personal demons. Her whispering, spectral delivery and deeply personal lyrics are the key to this. The production here is superb. (Adam White), The album takes a deep, contemplative breath on “Short and Sweet”, which is exactly what it promises, a Grace Jones-like ballad on which Howard’s voice takes precedent over inconspicuous guitar, and the background hisses like an old vinyl. The overarching sound, production and instrumentation on Eve are outstanding. But it is gratifying to hear her take control. Now it’s a standout on this album. The New Zealand artist seems to derive a particular glee from unsettling her audience. Swift has a habit of putting her worst foot forward. Ma Fleur was emotive and piano-led, its themes of mortality and the passage of life captured so evocatively in the Patrick Watson collaboration “To Build a Home” – which went on to soundtrack every TV show from Grey’s Anatomy to Orange is the New Black. His sardonic yet sensitive approach to gender and sexuality on “I Wanna Be Your Girlfriend” is a reminder, if one was needed, why he was so well-suited to scoring the soundtrack for Netflix’s Sex Education. You can hear his paranoia in the stuttering techno opener “Traffic”, which channels the heady grooves and pulses of electronic artist Floating Points (who, with his neuroscience background, seems like an entirely fitting reference point). Over all of it, he raps with an easy flow in gruff yet honeyed tones. Deforming Lobes is unpredictable and invigorating – the best representation of Segall’s restless creativity to date, not to mention the most fun to listen to. The singer-songwriter’s nomadic personality is reflected in the vast scale of reference points on her new record, In a Galaxy. The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt. “People give us backhanded compliments, like, ‘Oh, wow, you can really play,’” she says. Instead, his cold grime sonics are rendered down to their no-frills essentials – brutalist blocks of sad angular melodies and hard, spacious drums. Those qualities are captured nowhere more satisfyingly than on “25”. It’s no wonder she’s lent it to the likes of Perfume Genius, Drugdealer and Ariel Pink: it adds a touch of profundity to everything it meets. Throughout, Collard exhibits his extraordinary voice, which swoops to a devilishly low murmur or soars to an ecstatic falsetto. (Mark Beaumont), A revolving door of female vocalists (A-listers, indie darlings like Angel Olsen and unsung songwriters) deliver heartbroken lines over big, shiny beats and synths. Este Haim has denounced online jokes about her facial expressions as sexist, saying a male performer wouldn’t be subjected to the same comments. But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. (Roisin O"Connor), Mikey Shuman shares vocal duties with Tyler Parkford; his voice falls somewhere between the sleazy drawl of his QOTSA bandmate Josh Homme and Alex Turner’s more adenoidal tone on opener “We Should Be Dancing”. The 33-year-old Haim star and her … But this is an album that shows a band who’ve grown stronger and unafraid to flex their muscle. It’s better. Bonus Guitar Faces Collection. This is a new side of Deerhunter that gives the listener much to contemplate. It’s a bittersweet mourning of her past. Above all, he is conscious of what family means to him, and so bookends the album with a poem from him to his mother Jean, and one from his mother to him. Springsteen’s sublime portraiture of the American struggle – his protagonists walking with him through the ages of life as he goes – endures. It lacks a centrepiece to match the arresting depth and space of Sweetener’s “God Is A Woman”, but Grande handles its shifting moods and cast of producers (including pop machines Max Martin and Tommy Brown) with engaging class and momentum. But listened to as a whole, the album positively thrums with sonic invention, managing to feel both fresh and full of intrigue. Titanic Rising isn’t Bob Seger meets Enya. Taylor Swift flawlessly shut down a sexist interviewer who grilled her about “settling down” earlier this year. The album’s lead single, “Me!”, is peppy and poppy in all the wrong ways, a rictus grin of a song that rings hollow. “That’s like a veiled way of saying you’re ugly or something,” she told NME. The tempo-shifting country-folk song “Get Set Go Kid” layers guitar, keys and subtle, harmonising backing vocals, unexpectedly building towards a cacophony of syncopated piano and saxophone. Backing singers Leisa Hans and Ashley Wilcoxson add texture to the grooving “Lo/Hi”, while the languid “Sit Around and Miss You” is Stealers Wheels by way of the Deep South. “I could be the rapper with a message like you’re hoping, but what’s the point in me being the best if no one knows it?” he challenges on “Psycho”, which flips scattershot between beats and moods as though the track itself is schizophrenic. Often times Bass Face is misdiagnosed as siimple constitpation and can go untreated for years. The Man’s mega-hit “Feel it Still”, the Kentucky-formed, Nashville-based Cage the Elephant remain faithful to their neo-soul influenced brand of garage rock but move to something darker and far more visceral. Este Haim is fed up with people mocking her bass face.The 33-year-old Haim star and her siblings and bandmates - … I dont know the title but I know it was the bassist from Haim doing her bass face. [TOMT] [Reddit Post] Meme with Este Haim's bass face? It’s a thrilling work. “Like, F***. (Roisin O'Connor), This is an ambitious creation, meticulously crafted and assembled. It’s technically a follow-up to 2014’s The Wild, the Wilderness, but the newfound boldness on this new work is startling. There’s no attempt to chase someone else’s wave here; no token drill, afroswing or trap beats to satisfy playlist algorithms. “Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. But whether she’s pining for the return of a former love in the funky disco banger “Julien”, or singing about masturbating post-break-up in lead single “Party For One” (“I’ll be the one/ If you don’t care about me/ Making love to myself/ Back on my beat”), the vibe remains positively jubilant. III is Banks’s most cohesive album to date because she’s no longer restricting herself to exploring one feeling at a time. (Roisin O’Connor), After a period of tumult, Sharon Van Etten’s fifth album is a reinvention. I'm looking for a meme I might have saw on Black People Twitter or somewhere on this site. It's a style that makes fans of vintage engineering wince, but snags the ear like a fishhook. With Tenor, maker of GIF Keyboard, add popular Bass Face Haim animated GIFs to your conversations. See more ideas about bass player, bass, bass guitar. (Roisin O'Connor), There are plenty of surprises, like Swizz Beats singing on “Who Are You” against elegant violins that recall a Kamasi Washington composition. This blog is mostly dedicated to the wonderful M. Shadows and to the best band ever - Avenged Sevenfold. (Roisin O'Connor), On Deerhunter’s eighth album, frontman Bradford Cox takes on the role of war poet, documenting the things he observes with a cool matter-of-factness, and heart-wrenching detail. Considering how few artists have such command of their craft as .Paak, he’s not wrong. See more ideas about haim, guitar girl, haim style. Help Us Stranger has been a long time coming, but it was worth the wait. T Bob Seger meets Enya from Jazz, funk and soul to punk and heavy rock, three. Both fresh and full of intrigue predominant theme of the late rapper as consequence! Punk and heavy rock, plus three carefully chosen features 24 hours everything... 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“I don’t want to flip the page/ Of my negative script,” he intones on the final track, but there’s just a hint that he does. Nina Simone said an artist’s duty, “as far as I’m concerned, is to reflect the times”. The trio are currently preparing for their third album release. She embraces her pain, and as a consequence is able to let it go. Just as the preceding art installation invited viewers to enter its vast head of LED lights and wonder, this album does the same. (Mark Beaumont), On Cage the Elephant’s fifth album, Social Cues, frontman Matt Shultz reacts to the breakdown of his marriage and the loss of three close friends. Sigrid has a raw energy and emotional briskness that can make you feel like you’re doing aerobics in neon leg warmers atop a pristine mountain. Made up of sisters Este, Danielle, and Alana Haim ... Este's bass-face is its own meme, and Alana has twice won an NME Award for Best Band Blog or Twitter. Common’s optimistic nature gives it an uplifting vibe, and while closer “God is Love” is gently critical of people who use their religion to persecute others, the message is one of learning from our mistakes. (Elisa Bray), Given our current preoccupation with the Eighties, you could argue that Lost Girls is hardly breaking new ground – and yes, nostalgia is a fairly generic formula. Haim is particularly expressive when she performs onstage, which has led to photos of some of her live shows being turned into memes on social media. A must-have for anyone who has a heart. Tracks are at once astute and deeply personal in how they capture vignettes of everyday life and spin them into important lessons. The lyrics of "Man From The Magazine" discuss Haim's experiences with sexism ranging from a male journalist inquiring inappropriately about the faces Este makes when she plays bass (Man from the magazine / What did you say / Do you make the same faces in bed / Hey man what kind of question is that / What did you really want me to say back?) But you don’t come away from this record feeling downcast. “All Over Town” is their singalong anthem, neatly positioned in the middle to ease the pace. Alana Haim: And then literally out of nowhere, security guard, hand on face, pushed back. As with the dreamy “Upset My Girlfriend”, which speaks of a man about to propose to his partner despite the fight they’re in, it’s an album stranded somewhere between pure joy and unexplainable sadness; like slapping on a false smile despite feeling miserable, and recognising how much it helps in the moment. (Helen Brown), Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse – real name Brian Joseph Burton – during which the pair vowed they would work on something together. Join thought-provoking conversations, follow other Independent readers and see their replies. To Believe, however, feels more expansive in reach. “Zombie” was a protest song written by the band’s late frontwoman Dolores O’Riordan after two children were killed by IRA bombs – was released. (Roisin O'Connor), No one could accuse Lizzo of holding back. This endlessly fascinating artist’s seventh, full-length, album The Practice of Love is just as considered as 2016's Blood Bitch, examining one’s role in humankind and on Earth, and probing that favourite of pop-song themes: love. Vampire Weekend trade boat shoes for flip flops on Father of the Bride. King bent a nasty blues note on his guitar, it … The downbeat “Once” forgoes easy Noel-bashing for a mournful glance at the years when the pair were still speaking (“I remember how you used to shine back then... but you only get to do it once”). (Helen Brown), The perma-brilliant James Blake has flooded his fourth album – Assume Form – with euphoric sepia soul and loved-up doo-wop. Charli’s always so much cooler when she swaps the people-pleasing nostalgic for the free-wheeling futuristic. Not Waving, But Drowning has an emotional intelligence that shows just how strong Carner is when he’s at his most vulnerable. I love that about you.”, “God, thank you SO MUCH”, she responded sarcastically. By the end of all that, you feel like they deserve a pint. There are sax solos (more than one), and pounding rhythms that make you want to jump in a car and drive down a highway at sunset, and blistering electric guitars next to classic troubadour acoustics. Take the title track, whose spoken-word monologue morphs into a recorded conversation in which a woman discusses how childlessness in her late thirties affects her place in society, over the sparsest electronica. YOU.”. minutes later thundercat hopped on the song and put his magical twist on it. Share the best GIFs now >>> Want to bookmark your favourite articles and stories to read or reference later? (Patrick Smith), MUNA might not be a household name yet, but their influence runs through the charts like a stick of rock these days. But there are moments here where you feel his rage: “Goddamned machinery, why don’t you speak to me?/ One day I’m gonna take an axe to you,” he growls on “The Axe”. It’s layered with whimsical flutes, intricate guitar picking and sombre bass lines that meander with casual abandon. Even on the band’s third album UFOF, with an audience that has grown exponentially in the past few years, the songs are still immensely intimate affairs. bass, este face, este bass face, bass face, haim, danielle haim, este haim, alana haim, haim sisters, haim band, wimpiii, women in music part 3, something to tell you, days are gone, haim resting bass face … She sings about the fear of the unknown on “Flying Blind” – her steely determination on this record has you believing that she’ll take the leap regardless. (Roisin O'Connor), Solange Knowles has never been coy about the intent behind her music. (Helen Brown), Fender drew plenty of early comparisons to Bruce Springsteen – on Hypersonic Missiles they’re entirely warranted, as much for the instrumentation as the lyricism and his vignettes of working-class struggle. Each song feels personal yet relatable – the deep-rooted despair felt on “Trauma” at the sight of wealthy bullies rising to power is a universal one, as is the sense of liberation in just letting go on “What Can You Do But Rock n Roll”. At times I may annoy you with personal stuff. He has Springsteen’s rousing holler, and the early indications of someone who could be the voice of a generation – not because he wants to be, but because he sees things and understands. Maybe Nas never really lost it, but The Lost Tapes II sounds like an artist rediscovering his love for hip hop in the most joyous and satisfying way. Critics may question how relevant Slipknot are in 2019. Neither of them have ever suffered from this disease. It couldn’t be more timely. Here’s a preview. If there’s any justice, its follow-up, Saves the World, should see MUNA joining the ranks of those who have brazenly borrowed their sound. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails. It is the perfect upbeat end to an album of polished pop. Through looking for the awesome guitar faces in this post, I came across a collection of images that have been let’s say… slightly altered, to replace the guitarists’ guitar with a snail. (RO), It’s been a long wait for Flying Lotus’s new album. I love that about you. Alexandra Pollard, Tension aside, there’s a great sense of fun here. And if any two records could portray how quickly someone can grow from a boy to a man, it’s these. (Elisa Bray), When Hot Chip achieved chart success with their second album, 2006’s The Warning, it seemed more like a happy coincidence than a sign they were conforming to current pop trends. All orders are custom made and most ship worldwide within 24 hours. Her sister Alana opened the conversation by saying the band is still subjected to everyday sexism. save. And those quicksilver hooks just keep coming. (Roisin O'Connor), This self-titled record, a loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age – the longing to be at once noticed and invisible; the paralysing effects of limitless information, and the desire to do good versus the desire to be seen doing good. Danielle Haim: And then she backs up, and then literally ten security guards are– Este Haim: Grabbed me! Organs crop up throughout, evoking both Renaissance music and a fairground attraction. The 33-year-old Haim star and her siblings and bandmates - Alana, 37, and 30-year-old Danielle - have hit out at sexism in the music industry, with the former calling out those who have ever dealt her a "backhanded compliment" about how her face feels the music when she performs. Hollie is a digital writer at Stylist.co.uk, mainly covering the daily news on women’s issues, politics, celebrities and entertainment. On the lustful “Hell Song” he sings “less is more… but more is good”. Twelve Nudes is Furman’s most urgent and cathartic record to date. It ends with another Sivan collaboration: “2099”. There’s some of that, as vocalist Jason Williamson skewers documentary-makers who take advantage of the poor in “Kebab Spider” – “the skint get used in loo roll shoes” – but elsewhere this is a record that expands the idea of what Sleaford Mods could be. Jul 8, 2020 - Only stuff a bass player can understand . Sign up for our essential edit of what to buy, see, read and do, and also receive our 11-page Ultimate Guide To Making Your Home Feel Bigger. is enjoyably defiant, Gallagher embodying a settled and contented aura. At an age where the pressure is on to have everything worked out, Harding sounds delightfully free. Produced by Rapsody’s long-time collaborator and mentor 9th Wonder, the record samples cuts from Herbie Hancock’s “Watermelon Man” (“Whoopi”) and Phil Collins’s “In the Air Tonight” (“Cleo”), offers a smooth R&B joint with “Aaliyah” featuring the late singer’s ghostly backing vocals, and includes an interlude that is “an ode to the black woman’s body”. I'm pretty sure I saw it within the last two months. Echoing similar movements seen in recent years, such as Fannie Sosa and niv Acosta’s “Black Power Naps” exhibition – which speaks to and hopes to remedy the socio-economic problem of higher rates of sleep deprivation among black people – the album has a calming, blissed-out quality, with its layers of sound and enveloping harmonies. (Roisin O’Connor), If you want to know how hard it is to categorise Titanic Rising – the enthralling fourth album from Weyes Blood – look no further than the American musician’s own attempt to do so. “29 YEAR OLDS UNITE.”, yet another case of sexism in the music industry, By entering my email I agree to Stylist’s. Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured seediness, like the entire Cannes Film Festival owning up to its social diseases. “If he’s a serial killer, then what’s the worst that can happen to a girl who’s already hurt?” she asks. (Roisin O'Connor), The record is loosely conceptual insomuch as it’s punctuated with mock adverts for “WWAY HEALTH, our 24/7 care programme”. The anxiety and pride of impending parenthood converge on “Seventeen”, a paean to the invincibility and melancholy of adolescence. (Roisin O'Connor), For all the album’s eccentricities, the vibe is earnest fairytale rather than tongue-in-cheek – save for the sound of a strangled feline mirroring the lyrics “when you stepped on your cat” on “How Many Times”. It's a radio station holiday show with a lineup including Neon Trees and Rise Against, so Haim won't get top billing. From frenetic opener “Bored and Razed”, you can sense the compelling chemistry between Benson and White playing out on stage as the duo harmonise or sing in unison, and White strikes frenzied riffs alongside Benson’s melodic guitar chops. Whether it’s in the physical structure of a property that’s shaped you over the years, or in the familiar sounds of the music and culture that your people have crafted, there seems to be a call to return to what is familiar. But it was worth the wait. The energy here is thrilling, the strong rhythm section provided by former Detroit garage band The Greenhornes’ bassist Jack Lawrence and drummer Patrick Keeler. Start your Independent Premium subscription today. Bassist Este Haim has called out the sexism behind the ‘bass face’ memes that have followed her throughout her career. Yet for all its darkness, Beneath the Eyrie is brimming with the kind of melody that we expect from these indie-rock giants from the late Eighties. It is certainly a drastic switch-up from Freedom’s Goblin (2018), which had 19 tracks and ran for 75 minutes. It’s not uncommon for an artist to be influenced by the place they grew up in. “When I’m headlining next time,” she announced, “I’m gonna need my motherf**king ears to work.” Judging by the strength of her third album, that might not be such an implausible assumption. Be prepared to sarcasm and some funny shit. Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. Where most rock superstars sink into trad tedium by 69, Springsteen is still crafting sophisticated paeans of depth and illumination, a rock grandmaster worthy of the accolade. If there’s a twist here, it’s final song “Georgia”, which takes its classic-rock licks straight out of the Eagles’ songwriting book. You’re inclined to agree with him. report. “Fringe Runner” is so sleek and funksome it could be a New Romantic “White Lines (Don’t Don’t Do It)”; “Kim’s Sunsets” is a piece of refined cosmic reggae resembling a blissed-out “Bankrobber”. Imagine being the bass player in … Haim says male performers wouldn't receive the same remarks, Find your bookmarks in your Independent Premium section, under my profile. The crux of it all: the correct pronunciation of Haim, is hahy-ihm. We're going to take you through a tutorial to get you saying Haim just right. Beautiful arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose. I love that you don’t care what your face looks like when you play. Feel free to ask, I don't bite. Three of her past albums have been nominated for Mercurys; expect this to make it four. Andrew Fearn’s beats are no longer just the backdrop, they’re threatening to take over this album. Aside from “Happiness Is a Butterfly”, that is. Drenched in chamber strings and celestial harmonies, the plush yet sinister “Oh Sebastian” could be Pet Sounds selling its soul to the devil. This isn’t it, but it’s pretty great all the same. And they create the full club experience with “Got to Keep On”, on which the four-to-the-floor beat, funky rhythm guitar, sweet backing vocals and chiming bells make way for the simple sounds of happy party-goers; just as the anticipation builds, so does the instrumentation into a hypnotic crescendo. Hopefully fans will, too. After years making peace with drift and uncertainty, she’s never sounded more sure of anything. Haim (/ ˈ h aɪ. (Kuba Shand-Baptiste), FoalsMerging their asymmetrical early math pop with the deep space atmospherics of Total Life Forever and Holy Fire, plus added innovations – ambient rainforest throbs on “Moonlight”, deadpan EDM on “In Degrees”, Afro-glitch Radiohead on “Café D’Athens” – they’ve created an inspired album of scorched earth new music that, in all likelihood, will only really be challenged for album of the year by Part 2. “Gimme” demands sex and refuses to be shamed for it; “Contaminated” mourns a toxic relationship that can’t be saved; and “Stroke” is a bitter riposte to a man emulating the Greek figure Narcissus – laid over a funk guitar riff. At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. But where the 2017 Nordic Music Prize-winning Blood Bitch was packed with visceral imagery and disarming sonics, the themes of The Practice of Love are encased in a warm cocoon of poetry, blissed-out circling synths and trance-like Nineties beats. Slide guitars give way to violas, which usher in eerie synths. There’s a sax on “Sacrament” that’s loaded with longing, while the grunge-gospel stylings of “Merciless” offer ominous guitars and Collard’s reverent croons. Speaking in an NME interview, the musician made it clear that she doesn’t think a male bassist would be under the same scrutiny. (Roisin O’Connor), Big Thief’s frontwoman Adrianne Lenker has an uncanny ability to make you feel like you’re in on a secret. But what lovely ripples it makes. Not when it comes to her voice – which is raw and rowdy, so laden with personality even the vulnerable moments are a joy to listen to – and certainly not when it comes to her message of unabashed self-love. She sings of the late rapper as a “wingless angel” with featherlight high notes that will drop the sternest jaw. Instead, she’s been busy honing her craft for Grey Area, which sees her land on a new, bolder sound assisted by her childhood friend – the producer Inflo [Michael Kiwanuka’s Love & Hate] – for a record that incorporates her dextrous flow and superb wordplay with an eclectic range of influences. First, say Haim like time. Jul 29, 2017 - Hey there, I'm Fruzsina. Born in 1909, she was still a powerful, playful force when I interviewed her for this paper in her eighties. Not so nice. As if to hammer home their parity, they even largely sing in unison – which might have had a plodding effect if the pair’s voices weren’t so distinct: Bridgers sings with a hazy assurance, Oberst with an emotive tremor. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel – recorded around the same time – streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album. Over urgent, darting violin notes and soft strumming on an acoustic guitar, Sykes sings about the loss of a close friend, building to a hair-raising climax where he screams out the song’s title one last time. It’s more a reminder of how fleeting yet beautiful life is, and an appeal to make the most of it. “Black”, the most recent single from the record, considers what that word means to different people around the world, as well as to Dave. Este, who has had Twitter accounts and memes inspired by her ‘bass face’, has told NME why it’s so annoying when people make remarks on her facial expressions - when the same is usually never said to male musicians. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm – both of whom have worked with Flying Lotus and Thundercat. Thank goodness that the rest of the album is nothing like that. As .Paak sings on “Winners Circle”, “They just don’t make them like this anymore”. It sounds like The Cranberries found some kind of closure in this last record. And “Now That I’ve Found You” is even somewhat sickly-sweet in tone, a cheery tribute to his daughter Molly, whom he met for the first time when she was 21. Este Haim is fed up with bass face memes. The bass and riff-driven “Now That You’re Gone” feels stripped back by comparison; it’s perfectly crafted. Aug 8, 2014 - Explore Laura Jane Brown's board "Este Haim" on Pinterest. “DRAG THEM,” said Taylor Swift. On the melancholy, gently strummed guitar and piano-led “Fall Asleep, Backseat”, Monds-Watson reflects on pretending to sleep as her parents make the painful decision to divorce. Guest rapper Kojey Radical takes on the role of preacher for “Ground Control”. It’s often bleak and experimental: Cox’s vocals burst through like distorted, burbling fragments of static, or appear muffled amid the instrumentation. There are moments that recall her Communion labelmate Ben Howard, on his latest album, Noonday Dream, and others that nod to the quiet stoicism of Joni Mitchell and Neil Young. Want an ad-free experience?Subscribe to Independent Premium. https://www.nme.com/news/music/este-haim-sexism-bass-face-2574378 Este Haim is one of the founding members of the American pop rock band, Haim. The way she has structured this record takes the listener through the complicated yet nuanced emotions of a woman who has recently learnt to accept everything she feels. Amo is a way of exploring that, even down to the title itself. ɪ m / HY-im, meaning "life" in Hebrew, stylized in all caps) is an American pop rock band from Los Angeles. “Disconnect me from my bones, so I can float, so I can roam,” sings Brownstein – her singular voice all yelps and creaks – on “Hurry On Home”. But “Party For One” remains the album’s highlight, harnessing the bouncy energy of Jepsen’s breakout hit. Dave spends Psychodrama addressing issues caused by the generations who came before him. Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga. 100% Upvoted. (Alexandra Pollard). 11 Nov 2019 Music gossip. Her Medusa’s stare – witnessed at her live shows as well as in her music videos – has become the stuff of legend. Assisted by producer John Hill, whose previous credits include co-writing Portugal. Several tracks tap into a Nineties R&B sound that UK women, from Mabel to Ella Mai, are excelling at right now. share. In fact, it’s yet another case of sexism in the music industry. It wasn’t until after O had given birth to her son, though, that recording finally began, and there is a beatific sense of contentment on songs like “Drown”, with its Kamasi Washington-like choirs and stately horns. On opener “Shine a Light”, the riffs are big, the momentum irresistible, with frontman/guitarist Dan Auerbach layering scabrous licks over AC/DC-like chords. “Voices” has him singing over an old-school garage beat, fighting off personal demons. Her whispering, spectral delivery and deeply personal lyrics are the key to this. The production here is superb. (Adam White), The album takes a deep, contemplative breath on “Short and Sweet”, which is exactly what it promises, a Grace Jones-like ballad on which Howard’s voice takes precedent over inconspicuous guitar, and the background hisses like an old vinyl. The overarching sound, production and instrumentation on Eve are outstanding. But it is gratifying to hear her take control. Now it’s a standout on this album. The New Zealand artist seems to derive a particular glee from unsettling her audience. Swift has a habit of putting her worst foot forward. Ma Fleur was emotive and piano-led, its themes of mortality and the passage of life captured so evocatively in the Patrick Watson collaboration “To Build a Home” – which went on to soundtrack every TV show from Grey’s Anatomy to Orange is the New Black. His sardonic yet sensitive approach to gender and sexuality on “I Wanna Be Your Girlfriend” is a reminder, if one was needed, why he was so well-suited to scoring the soundtrack for Netflix’s Sex Education. You can hear his paranoia in the stuttering techno opener “Traffic”, which channels the heady grooves and pulses of electronic artist Floating Points (who, with his neuroscience background, seems like an entirely fitting reference point). Over all of it, he raps with an easy flow in gruff yet honeyed tones. Deforming Lobes is unpredictable and invigorating – the best representation of Segall’s restless creativity to date, not to mention the most fun to listen to. The singer-songwriter’s nomadic personality is reflected in the vast scale of reference points on her new record, In a Galaxy. The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt. “People give us backhanded compliments, like, ‘Oh, wow, you can really play,’” she says. Instead, his cold grime sonics are rendered down to their no-frills essentials – brutalist blocks of sad angular melodies and hard, spacious drums. Those qualities are captured nowhere more satisfyingly than on “25”. It’s no wonder she’s lent it to the likes of Perfume Genius, Drugdealer and Ariel Pink: it adds a touch of profundity to everything it meets. Throughout, Collard exhibits his extraordinary voice, which swoops to a devilishly low murmur or soars to an ecstatic falsetto. (Mark Beaumont), A revolving door of female vocalists (A-listers, indie darlings like Angel Olsen and unsung songwriters) deliver heartbroken lines over big, shiny beats and synths. Este Haim has denounced online jokes about her facial expressions as sexist, saying a male performer wouldn’t be subjected to the same comments. But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. (Roisin O"Connor), Mikey Shuman shares vocal duties with Tyler Parkford; his voice falls somewhere between the sleazy drawl of his QOTSA bandmate Josh Homme and Alex Turner’s more adenoidal tone on opener “We Should Be Dancing”. The 33-year-old Haim star and her … But this is an album that shows a band who’ve grown stronger and unafraid to flex their muscle. It’s better. Bonus Guitar Faces Collection. This is a new side of Deerhunter that gives the listener much to contemplate. It’s a bittersweet mourning of her past. Above all, he is conscious of what family means to him, and so bookends the album with a poem from him to his mother Jean, and one from his mother to him. Springsteen’s sublime portraiture of the American struggle – his protagonists walking with him through the ages of life as he goes – endures. It lacks a centrepiece to match the arresting depth and space of Sweetener’s “God Is A Woman”, but Grande handles its shifting moods and cast of producers (including pop machines Max Martin and Tommy Brown) with engaging class and momentum. But listened to as a whole, the album positively thrums with sonic invention, managing to feel both fresh and full of intrigue. Titanic Rising isn’t Bob Seger meets Enya. Taylor Swift flawlessly shut down a sexist interviewer who grilled her about “settling down” earlier this year. The album’s lead single, “Me!”, is peppy and poppy in all the wrong ways, a rictus grin of a song that rings hollow. “That’s like a veiled way of saying you’re ugly or something,” she told NME. The tempo-shifting country-folk song “Get Set Go Kid” layers guitar, keys and subtle, harmonising backing vocals, unexpectedly building towards a cacophony of syncopated piano and saxophone. Backing singers Leisa Hans and Ashley Wilcoxson add texture to the grooving “Lo/Hi”, while the languid “Sit Around and Miss You” is Stealers Wheels by way of the Deep South. “I could be the rapper with a message like you’re hoping, but what’s the point in me being the best if no one knows it?” he challenges on “Psycho”, which flips scattershot between beats and moods as though the track itself is schizophrenic. Often times Bass Face is misdiagnosed as siimple constitpation and can go untreated for years. The Man’s mega-hit “Feel it Still”, the Kentucky-formed, Nashville-based Cage the Elephant remain faithful to their neo-soul influenced brand of garage rock but move to something darker and far more visceral. Este Haim is fed up with people mocking her bass face.The 33-year-old Haim star and her siblings and bandmates - … I dont know the title but I know it was the bassist from Haim doing her bass face. [TOMT] [Reddit Post] Meme with Este Haim's bass face? It’s a thrilling work. “Like, F***. (Roisin O'Connor), This is an ambitious creation, meticulously crafted and assembled. It’s technically a follow-up to 2014’s The Wild, the Wilderness, but the newfound boldness on this new work is startling. There’s no attempt to chase someone else’s wave here; no token drill, afroswing or trap beats to satisfy playlist algorithms. “Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. But whether she’s pining for the return of a former love in the funky disco banger “Julien”, or singing about masturbating post-break-up in lead single “Party For One” (“I’ll be the one/ If you don’t care about me/ Making love to myself/ Back on my beat”), the vibe remains positively jubilant. III is Banks’s most cohesive album to date because she’s no longer restricting herself to exploring one feeling at a time. (Roisin O’Connor), After a period of tumult, Sharon Van Etten’s fifth album is a reinvention. I'm looking for a meme I might have saw on Black People Twitter or somewhere on this site. It's a style that makes fans of vintage engineering wince, but snags the ear like a fishhook. With Tenor, maker of GIF Keyboard, add popular Bass Face Haim animated GIFs to your conversations. See more ideas about bass player, bass, bass guitar. (Roisin O'Connor), There are plenty of surprises, like Swizz Beats singing on “Who Are You” against elegant violins that recall a Kamasi Washington composition. This blog is mostly dedicated to the wonderful M. Shadows and to the best band ever - Avenged Sevenfold. (Roisin O'Connor), On Deerhunter’s eighth album, frontman Bradford Cox takes on the role of war poet, documenting the things he observes with a cool matter-of-factness, and heart-wrenching detail. Considering how few artists have such command of their craft as .Paak, he’s not wrong. See more ideas about haim, guitar girl, haim style. Help Us Stranger has been a long time coming, but it was worth the wait. T Bob Seger meets Enya from Jazz, funk and soul to punk and heavy rock, three. Both fresh and full of intrigue predominant theme of the late rapper as consequence! Punk and heavy rock, plus three carefully chosen features 24 hours everything... 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