Shota Aoi releases tenth single “Tone”, an opening theme for TV anime series “Kono Oto Tomare!”.
Release Date: April 10, 2019
3.Bet On You
“ORDINARY LOVE” is a digital single released by Aida Rikako. It was released ahead of her debut mini-album Principal. The song was used as the ending theme for the anime Senryuu Shoujo.
Released Date: 2019.04.05
Fans of Lissie have always understood there were two distinct sides to her. There was the vibrant and unruly singer who would rev up audiences through her wild energy and emotionalism. And there were the more polished studio productions that employed sound effects and instrumental flourishes to add depth and breadth to her natural talents. No wonder two of her six full-length albums were live recordings as an attempt to bring the power of her as a performer to the album format.
Well, during the past 10 years Lissie’s been there and done that, meaning she’s toured internationally as a headliner, opened for major stars such as Tom Petty, sung with others like Elton John, been a guest on late-night television programs (and had many of her songs placed in popular TV shows), and received ample radio play. Lissie may not be a household name, but she is well-known enough to live the Los Angeles laid back lifestyle and earn a decent living. Except she turned her back on that, sold her home in Ojai and bought 50 acres in the heart of Iowa. Lissie is originally from the Midwest (Rock Island, IL) and in a sense has returned to her roots.
This makes sense in a way, but not really as her early songs were all about getting out of this place and experiencing the world. At age 36 she’s too young to retire. When I’m Alone: The Piano Retrospective (2019) has Lissie looking back. As the album title suggests, she has stripped down the songs to their essence. It’s just her voice and piano.
The record contains nine originals and two covers. The selections of her own songs make a sort of sense as the majority here were released as singles and garnered a certain amount of success, but Lissie overlooked some of her best material like “Cuckoo”, “I Don’t Want to Go to Work”, and “Wild West”. The songs she chose don’t reveal Lissie’s range as an artist. They tend to concern interpersonal relationships more than reflection and coming to terms with the world. Lissie’s best work, live and on record, always conveyed a rebellious spirit and critiqued those who would try and pigeonhole her. This time it seems as if she is compartmentalizing herself into a particular slot.
And her choice of covers, Fleetwood Mac’s “Dreams” and the Dixie Chicks’ “Cowboy Take Me Away” make even less sense. Her version of Lady Gaga’s “Bad Romance”, Kid Cudi’s “Pursuit of Happiness”, and Fleetwood Mac’s “Go Your Own Way” are among her best-known recordings. She should have covered them here. Presumably, the cuts she picked have some personal meaning to her, but the connections between these songs and her self-penned ones are not clear. I am as unqualified as Charles Schulz’s Lucy van Pelt to offer psychiatric advice, but as a fellow Hawkeye, I think Lissie’s retreat into Iowa may not have been the best thing for her music. As the covers suggest, dreams of loneliness can drive you mad and waiting for someone else to come and set you free is just a fool’s fantasy.
Lissie has a powerful voice and sings in a low register that suggests sincerity. She uses the silence between notes as a method of creating emotive spaces. Her piano playing offers rich commentary that adds weight to her lyrics and how she annunciates her feelings. The intimacy of these recordings has much to offer an observant listener. However, it doesn’t sound like Lissie’s having much fun. The nuances are more sensitive than passionate. Lissie can be a force of nature, but the Lissie here is like putting a lion in a cage and calling it a cat. She should let herself out.
1.Don’t Give Up On Me
3.Everywhere I Go
5.When I’m Alone
10.Cowboy Take Me Away
Diário de Guerra 1941-1945
Sobre a Obra:
1941. Carry Ulreich de 15 anos vive em Roterdão gozando a vida como qualquer outra rapariga da sua idade, desfrutando dos pequenos prazeres e da liberdade comum a tantas famílias da época. Mas a liberdade de Carry irá desaparecer lentamente devido às imposições da ocupação nazi: a requisição de bicicletas e rádios, o recolher obrigatório, o dever de usar a estrela de David, a proibição do exercício de várias profissões (incluindo a de costureiro, que o pai de Carry exerce), a obrigatoriedade de frequentar escolas judaicas.
E, no horizonte, o espectro dos campos de concentração. A inesperada tábua de salvação vem dos Zijlmans, uma família católica de Roterdão, que acolhe Carry e a família, pondo em risco a sua própria segurança. Assim começa uma vida na sombra, envolvida pela ameaça que paira lá fora.
Com um olhar nítido e lúcido sobre as dificuldades e os medos que enfrenta, o diário de Carry devolve-nos a história de vida de uma menina judia obrigada a crescer no momento mais terrível do século XX europeu.
Sobre o Autor:
Judia de ascendência polaca, nascida na década de vinte do século passado, Carry Ulreich passou três anos da sua adolescência escondida numa casa em Roterdão durante a Segunda Guerra Mundial. Com quase noventa anos, veio a publicar o diário que manteve dessa experiência, ficando de imediato conhecida como a «Anne Frank com final feliz». Pouco tempo depois da libertação, casou-se e, cumprindo um sonho, foi viver para Israel, sob o nome de Carmela Mass. Teve três filhos, vários netos e bisnetos.
HEART*IZ is the second mini album by IZ*ONE. It was released on April 1, 2019 with “Violeta” serving as the album’s title track.
1.”Hey. Bae. Like it. (해바라기)”
4.”Really Like You”
6.”Up (하늘 위로)”
7.”Neko ni Naritai (고양이가 되고 싶어; lit. I Want to Be a Cat)” (Korean ver.)
8.”Gokigen Sayonara (기분 좋은 안녕; lit. Goodbye)” (Korean ver.)
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