therhinestonehawk

2024 will be the first year in a long time where i won't be releasing an album in the 25th of november. this tradition started in 2021, i think, with the release of "i'm sorry." under the alias "nobody else at the end". according to bandcamp, it was actually released in december 2nd, but i believe this date is wrong. either way, the following year i released my best album, "sometimes i go out in pity for myself", followed by two throwaways: "unassorted dreams" and "when is it going to end?". i released this two albums on that date only because i couldn't bear not to do it, something that can be explained by my ASD. i regret that today since "when is it going to end?" was in the works for a while and i rushed its completion for this release. either way, almost no one listened to these albums. this year, i won't make that effort. i have a fully completed album and a bunch of semi-completed songs that i could rele...

in the 2010s, pop had gone through a notorious and infamous " difficult transition to 3d" . because of the internet and its influences on how culture works, the mainstream failed to maintain or create timeless icons in the way every other decade did. not for a lack of trying, though. the 2010s gave us Lorde, Charli xcx, and later, Billie Eilish. but the internet made time have a disgustingly fast pace where something that happened a month ago feels like it happened ten years ago, therefore, pop artists had a hard time keeping a momentum. a few artists, mostly from the 2000s, kept their relevancy by default, but when i say the 2010s failed to give us great icons, it's because like, my parents know who Bruno Mars is, but they have never heard of Halsey. non-flattering artistic rendition of the writer of this article in their room besides the cultural, the musical also stumbled. in the 2010s, something that was present in the 2000s became the norm, ...

Samlrc is a brazilian musician, visual artist, filmmaker and more. She recently released her album "A Lonely Sinner", changing her sound entirely from electronic shenanigans to majestic and grandiose post-rock. Yesterday I interviewed her, which you can check out right below, as well as a link to her newest album on bandcamp!   SIMON : hey Sam!! thank you for accepting the interview! how are you feeling tonight? SAMLRC : been overwhelmed but im just chillin rn :3 good night SIMON : good to hear that :D SIMON : so, going straight to the first question, what music are you listening to recently? SAMLRC : hmm been diving into some trip hop groups like massive attack and some QOTSA albums, very glad i gave them a chance its so peak SIMON : i love massive attack!! never listened to QOTSA though, but i might give them a chance too SAMLRC : quite hard for me to recommend something from them but i love Like Clockwork more, very good mix of emotional and ...

Ami Suzuki was a big deal. in the late 90s, she achieved platinum with her debut album SA and delivered big hits that rivaled the likes of Ayumi Hamasaki and Hikaru Utada. alone in my room and BE TOGETHER are still sang by fans to this day. she could have continued this success, but, legal troubles put a stop to that. she lost her popularity in 2000 after leaving her label. and yes, that's what you'll find out by reading her wikipedia article. but that's not what this post is about. in the 22nd of august of 2007, Ami Suzuki released a song produced by the god of electropop himself, Yasutaka Nakata, aka Perfume's fourth member. that song was called FREE FREE. in the music video, Suzuki wears a scampy dress and dances around with a strong and impossible to ignore erotic tone. this change in image was shocking, not because of its prudeness, but because it was really fucking cool, and unpredictable. if you weren't a Suzuki believer before that, you are now. you now un...