This brings all kinds of wonderment to our soul. This is the first official single of singer Lulu James who, if there is any justice in the dance world (which the isn’t), should have a big hit under her sleeve. It’s strong and makes a statement. The sound is an ode to 90s’ vocal house without being too experimental, a la Hercules & Love Affair. Just amazing! Continue reading
One thing we found out about Mariah on American Idol is her vast knowledge of our century’s musical catalogue. She was singing almost every other tune on the show. Well, here Mariah commemorates another diva – Billie Holiday. Click below to listen to the original version. Continue reading
Soul singer Fontella Bass, best known for her 1965 hit “Rescue Me,” has died. She was 72.
According to the Uptown Magazine, the St. Louis-born songstress passed away on December 26th due to complications from a heart attack she suffered three weeks ago. Her daughter, Neuka Mitchell, says Bass had also suffered a series of strokes over the past seven years. Continue reading
This one could rattle some feathers, but its a legitimate question to ask. Whose vocals sets you free and makes you float across the sky, to put it simply. We are talking vocalists here, not divas or female pop icons (If I get a Madonna imma…).
For us, it’s Mariah Carey (of coursies), Whitney Houston, Brandy, Heather Small, Sarah McLachlan, Jill Scott, Joni Mitchell, Tori Amos, Shaznay Lewis, Phyllis Hyman and (maybe) Christina Aguilera.
Who are your favorite female vocalists of all-time?
Leave your answer in the comments section below!
Still a teenager, Austrian vocalist and pianist Anja Plaschg debuted her project Soap And Skin on Lovetune For Vacuum (PIAS, 2009). These piano lieder mainly exploit the melodramatic skills of the vocalist, capable of alternating ecstatic melisma and whispered laments. Consequently the mood ranges from the solemn, philosophical Sleep to the childish, bouncing Spiracle. The accordion-driven elegy Cry Wolf, however, achieves an otherworldly quality. She is at her most virile in the lugubrious Thanatos. She is at her most sentimental in the tender lullaby Extinguish Me (with a piano melody reminiscent of Beethoven’sPathetique) and in the ethereal Brother Of Sleep (lulled by a nostalgic piano carillon and dreamy strings). Her singing is pictorial, cinematic and psychological. It tells a story in many different ways. But she does even better when she doesn’t sing: the fairy-tale instrumental Turbine Womb is a concentrate of mystery and magic. DDMMYYYY is an audio sculpture of digital polyrhythms. It’s the (digital) arrangements that turn Fall Foliage into a symphonic nightmare. It’s the combination of Enya-esque vocals and a cello-driven chamber ensemble that turnsMarche Funebre into a metaphysical poem.