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@indietunes
It's my 15 year anniversary on Tumblr đĽł
How it started -> How itâs going
Probably time to switch out that profile picture.

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The Lumineers - S/T
If thereâs one band that is the face of the âmillennial burger jointâ meme, as well as how ridiculously corny that early 2010s indie-pop / folk-pop got, itâs The Lumineers. I remember being a big fan back in the day, but I havenât kept up with them in a long time, let alone listened to them. The Lumineers blew up with the song âHo Hey,â and Iâll be damned if that song isnât the epitome of how corny folk-pop got in that era. Hell, it became known as the âstomp clap heyâ sound, because that song âpioneeredâ that sound, so to speak. In retrospect, itâs easy to see why people hated these bands, but I was there when the ancient text was being written. I was a fan of these bands, and it was truly something special. Maybe not special for people that hated them, but special for people that wanted to be apart of something.
The Lumineers have fallen off in recent years, but their debut is a great slice of indie folk-pop. I found a copy of it online recently, and I was compelled to check it out, because Iâve already been listening to some stuff in that vein. I got some albums from Band Of Horses, The Shins, Vampire Weekend, and a bunch more stuff, so I figured this album wouldnât hurt as well. I havenât heard it in about a decade, but I remember still enjoying it, albeit for different reasons, and Iâd say I feel that way about listening to it a handful of times after picking it up. Itâs a pretty fun, catchy, and whimsical indie-folk-pop album that has some good hooks, lyrical nuggets, and a good sound. Now itâs not perfect, and it does have a dated sound, but I still really like it.
This is one of those albums that I can admit isnât anything amazing, but Iâm a sucker for it. I love a lot of tracks here, but theyâve got a generic folk-pop sound that donât really do anything worthwhile, although theyâre catchy and fun. The lyrics are also pretty good, even if they teeter on corny at times. âHo Heyâ is a good example of that, but itâs still a lot of fun for what it is. The album has its slower moments, and their vocalist doesnât always make them work, at least with how his voice isnât anything amazing. I tend to zone out when the slower songs pop up, but at the same time, they arenât bad. The album isnât that long, as itâs only 42 minutes, but it can feel a bit lengthy at times, especially when it moves slower. I donât know, I quite enjoy this album, even if itâs not the best folk-pop album of its era.
Chvrches - Every Open Eye
Over the last handful of years, there are a lot of bands and artists that Iâve really come around to, especially when I didnât always like them. One of those bands is the Scottish synth-pop band Chvrches, and I remember not being a fan of their debut album, 2013âs The Bones Of What You Believe. I donât know why, but I need to go back to that album, just to see if itâs held up. Their sophomore album, 2015âs Every Open Eye, is the one that got me into them. Sadly, though, I havenât kept up with them since. They dropped two more albums, one in 2018 and one in 2021, but I havenât heard either one of them. I remember going back to Every Open Eye a couple years after it came out, and it really grew on me (even though I liked it a lot), so I was excited when I found a copy at Half Price Books a couple weeks back. I was even more excited when I saw it was a special edition, so there were a few bonus songs.
I havenât heard the album in a very long time, so I was curious and excited to check it out, but Iâm happy to say that the album is pretty dang good, albeit not perfect. I love the bandâs brand of synth-pop, especially because it sounds like itâs straight out of the 1980s. Lauren Mayberry is a pretty good vocalist, even if her voice is a bit nasally, but Iâve grown on it over the years. Their sound is pretty straightforward, too, but theyâre great with hooks. Well, for the most part, anyway, because this album has one major glaring issue â the album is too repetitive. The standard edition is 43 minutes, but the bonus tracks make it 56, and thatâs just way too long. A lot of the songs sound the same, but there are a couple of songs that donât do much for me, especially when itâs due to one of the other members singing lead on a few songs.
Martin Doherty, who plays synth, guitars, bass, and a lot of other stuff, also sings on a couple of songs (one song on the standard edition and one more in the special edition), but he just doesnât do anything for me. His voice is so flat and lifeless, I just donât care for it much. Heâs not outright bad, but I zone out during those songs, because they bore me to tears. Otherwise, Mayberry does a great job, even if a lot of songs are very repetitive and derivative of one another. Nonetheless, there are some highlights, such as âNeverending Circles,â âLeave A Trace,â and âMake Them Gold,â among many more. Itâs just that the sound isnât very diverse, so you just get synth-pop, for better or worse. There are a couple of slow tracks in there, but itâs mainly just energetic synth-pop, which is fine, but it does get a bit old after awhile. Iâd ultimately recommend this, because itâs fun and energetic, but itâs not very diverse.
ELLIOTT SMITH on tour, 1998

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PJ Harvey in NYC, 1995
Photographed by Michael Lavine.
PJ Harvey has spent more than three decades refusing to become predictable. Emerging in the early 1990s with a raw, ferocious guitar sound and a voice that could shift from wounded whisper to elemental howl, she quickly became one of the defining artists of alternative rock. Albums like Dry, Rid of Me, To Bring You My Love, Stories from the City, Stories from the Sea, and Let England Shake show her extraordinary range: blues, punk, art rock, folk, poetry, political lament, theatrical character study. She is admired for the severity of her artistic discipline, her willingness to reinvent her sound and persona, and the way she writes from inside desire, violence, femininity, landscape, war, faith, and exile without softening any of it. She has the rare aura of a true auteur: every record feels like a world with its own weather, costume, language, and mythology.
Picture a man Seen like a speck out from the shore Swimming out beyond the breakers like he's done his life before He feels the coming of a squall will drag him out a greater length But knows his strength And tries to gather it
And he swims on Turning back to shore again Above the outer atmosphere of a world he's never seen And looking down to his new home, he feels the rising of a wave And knows at once he will not weather it
Like that man I looked down into the depths when I met you I couldn't measure it
Any time I've struggled on Against the course Out on my own Every time I'd burn through the world, I'd see That the world, it burns through me But when I'd let go My struggling form My willing soul Every time I'd flow through the world, I'd see That the world, it flows through me That the world, it flows through me
Picture a grave Picture six feet freshly dug The sharp temporary walls at the long-term cliff edge of the world Light and air find some new deepness there and usher down the sky Where one stands by and tries make sense of it
But try measure loss Measure the silence of a house The unheard footsteps at the doorway The unemployment of the mouth The waking up, having forgotten And remembering again the full extent of what forever is
With each grave I think of loss And I can only think of you And I couldn't measure it
Any time I've struggled on Against the course Out on my own Every time I'd burn through the world, I'd see That the world, it burns through me But when I'd let go My struggling form My willing soul Every time I'd flow through the world, I'd see That the world, it flows through me That the world, it flows through me
and the lilacs drink the water marking the slow, slow, slow passing of time
Song: Saltkin Artist: Purity Ring Year: 2012 Why it's Dope: A mesmerizing opening synth that is nimble yet cavernous, confident percussion that balances out the tune's spaciousness, an elegant vocal performance that has a mystical quality to it, and striking lyrics that are surprisingly violent and somewhat esoteric.
Lose â Boeckner

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Take My  â¤ď¸
Because you can never go from going out to being friends, just like that. Itâs a lie. Itâs just something that people say theyâll do to take the permanence out of a breakup. And someone always takes it to mean more than it does, and then is hurt even more when, inevitably, said âfriendlyâ relationship is still a major step down from the previous relationship, and itâs like breaking up all over again. But messier.
This Lullaby by Sarah Dessen
Untitled - Lari Heikkilä
amandaonwriting:
Words that describe words
Ananym â A type of anagram, formed by reversing letters of another word. For example, an âemirpâ is a prime number that results in a different prime number when its digits are reversed.Â
Antiphrasis â The humorous or ironic use of a word or phrase in a way thatâs contrary to its normal meaning. For example, naming a Chihuahua Goliath or calling a bald man Curly.Â
Antonomasia â The substitution of a personal name for a common noun to describe a member of a group. Examples include calling an office worker âDilbertâ or a traitor a âBenedict Arnold.âÂ
Backronym â A backward acronym, constructed by taking an existing word and creating a new phrase using the letters in the word. For example, the rating system used to assess newbornsâthe Apgar scoreâwas devised and named after Virginia Apgar. Ten years later, the backronym APGAR was introduced as a mnemonic aid: Appearance, Pulse, Grimace, Activity, Respiration.Â
Charactonym â A name of a fictional character that suggests the personality traits of that character. Charles Dickens was a master at creating charactonyms. My favorite is Mr. MâChoakumchild, the unpleasant schoolmaster from Hard Times.Â
Contranym â A word with two opposite meanings. For example, âoversightâ can mean an error or mistake or it can mean watchful care. Dysphemism â The substitution of a harsher or offensive term in place of a relatively neutral term. Referring to genetically modified food as âfrankenfoodâ is an example of a dyphemism.Â
Malapropism â The humorous misuse of a word by confusing it with a similar-sounding word. William Shakespeare used malapropisms frequently. From The Merchant of Venice, âOur watch, sir, have indeed comprehended two auspicious persons.â (Should be apprehended and suspicious.)Â
Metaplasm â A change in a word created by adding, omitting, inverting, or transposing its letters, syllables, or sounds. Examples include ârithmeticâ for arithmetic, âlibaryâ for library, and ânucularâ for nuclear.Â
Pangram â A sentence that contains all the letters of the alphabet. We all know, âThe quick brown fox jumps over the lazy dog.â But how about: âPack my box with the five dozen liquor jugs,â or, âThe five boxing wizards jump quicklyâ?Â
Pleonasm â The use of more words than are necessary to convey meaning, either as a fault of style or for emphasis. Examples include âfree gift,â âadvance planning,â âplease RSVP.âÂ
Syllepsis â A figure of speech in which one word is applied in two different senses. My favorite example of syllepsis comes from The Devilâs Dictionary by Ambrose Bierce. âPiano, n. A parlor utensil for subduing the impenitent visitor. It is operated by depressing the keys of the machine and the spirits of the audience.âÂ
By Laura Hale Brockway, the author of the writing and editing blog impertinentremarks.com
Source:Â Impertinent Remarks
Track of the day // Waxahatchee - Much Ado About Nothing

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couldnât tell if you were crying or laughing, they both sound the same.