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Cup Of Tea - I Was Totally Destroying It - Horror Vacui (CD, Album)


Sep 13,  · Check out Horror Vacui by I Was Totally Destroying It on Amazon Music. Stream ad-free or purchase CD's and MP3s now on Cup of Tea. Cup of Tea. Listen Now $ In MP3 cart View MP3 Cart 6. A Reason To. Horror Vacui, an album by I Was Totally Destroying It on Spotify. our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. Sep 13,  · Cup of Tea, a song by I Was Totally Destroying It on Spotify. you agree to our use of cookies as described in our Cookie Policy. × Cup of Tea By I Was Totally Destroying It. • 1 song, Play on Spotify. 1. Cup of Tea. Featured on Horror Vacui. More by I Was Totally Destroying It. Rare / Unreleased. Blood on the Beach Music Duration: 3 min.

IWTDI might be described lazily as a power pop act, and that is occasionally appropriate; various songs on Preludes are right at home in the power pop lineage, nodding to Cheap Trick, Posies and Velocity Girl. Ultimately, though, power pop is an inadequate frame for this album and this band; IWTDI make use of early new wave and indie rock elements, and are unafraid to make bold departures from all of these.

For this album that is both a strength and a weakness: one after another, the tracks on Preludes offer fresh things to admire, leaving a collective impression that is not quite unified enough to cohere into a whole. The songwriting, handled primarily by co-lead vocalists John Booker and Rachel Hirsh, is strong enough that it's clear IWTDI will have the luxury of focusing its style as it sees fit.

Preludes Cup Of Tea - I Was Totally Destroying It - Horror Vacui (CD a broad spectrum of relationships and personas, many tinged with darkness. The more aggressive ones are sung by John - 'Wrecking ball' opens the album with the nihilistic declaration, "I may hate myself, but I hate you all so much more. With its new-wave shadings think Sounds or even Metric and completely infectious oh-oh, oh-oh-oh chorus, 'Control' begs to be a single.

John and Rachel both bring a lot to the table as vocalists - he in the family of power pop vocalists who actually can sing; she as a chameleon who can sound like Bridget Cross one moment, Cleo Murray the next, and Dolores O'Riordan the third. And IWTDI boasts obvious musicianship across the board; James Hepler's muscular but unpretentious drumming is a secret weapon wisely used.

Everything comes together on sleeper first single 'Regulators' - three songs in one, really, from its Pixies intro and insouciant verses, to its unexpectedly wistful chorus, to its even more unexpected gorgeous outro with guitar and synth lines that shimmer into the fade. Other songs are achingly pretty, like "All get lucky', possibly the Posies-est track on Preludes, though that song's lyrics rely too much on cliches.

Even prettier, though, is "With you now', sounding like Cranberries doing an Oasis song, and delivering some of the most affecting lyrics on the album: "Living by the notion of fairytale devotion It's a stunning song that walks a tightrope between paranoia and legitimate fear; as often as Rachel repeats, "It's only in your head," the comfort is undercut by the climbing chord progression and her glossolalia.

Preludes has its missteps. Outtakes like jangle-poppy 'Halloween' or post-punkish 'The hollow men' would have been welcome in its stead. From beginning to end it progresses like one changing season to the next, where things commence only to grow more refined with new colors. IWTDI benefits greatly from having two singers. Booker or Hirsh would be exemplary alone in separate bands, but together in IWTDI it makes for something unique, not just as songwriters working together but their blending of vocals.

The combination takes things up several notches, like a band that incorporates a horn section — it becomes something else altogether. Preludes highlights their workmanship together, illustrating all of its strengths and as a necessary coupling. When most longtime couples break up, they spend some time apart. They take a few months to cool off, to forget about those harsh last words, to find some new buddies and drink at a different bar. For John Booker and Rachel Hirsh, that wasn't really an option.

Forgetting each other? No one was having that, at least not now. The fresh-faced couple's two-year relationship, which extended to living and writing songs together for the popular five-piece, splintered in April. By then, they were months into finishing their second album, a thrilling, rambunctious, often bitter LP called Horror Vacui, to be released by Greyday Records next week.

So the record, much like its dogged creators, has proved to be something of a survivor, making it through fracturing relationships and the decision by local label Neckbeard Records to cut ties with the group in the spring. For a band that issued its own debut just two years ago, the move was a major, definitive step forward. Still, the tale is a mildly harrowing one for Booker and Hirsh, who will play their personal drama out in front of bandmates, friends, fans and anyone else who cares to listen.

Booker calls the volatile time after the breakup "one of the most trying experiences of my life. And the rest of the band—longtime indie drummer James Hepler, bassist Joe Mazzitelli and Armstead—were the de facto counselors, sort of. I would play a couple of chords and say, 'Here! This is the nature of I Was Totally Destroying It, a tightly knit, determined band of would-be rock stars whose incestuous forays make them seem more like a twisted version of the Waltons than bandmates.

You get the sense that at the end of the day, they sit around a table, drink beers, eat meatloaf, joke about the neighbors, argue about who's washing the dishes and talk about their day. They're warm and unabashedly friendly. Hell, they even finish each other's sentences and refer to the band as a "marriage. We kicked around the idea because, obviously, it was really hard to be around each other, but the input from these guys was, 'That just can't happen.

We just can't do that, and both of you need to suck it up. Booker and Hirsh aren't the only ones in the band with mending hearts. Hepler's marriage crumbled last fall, and Armstead parted ways with his girlfriend in December. It's nothing new for bands to use creative and personal friction like this to hit it big. Fleetwood Mac turned it into singles gold with 's Rumours, and, more recently, rock chameleon Beck gave us all the sordid details in 's weary Sea Change.

Couples split all the time. Ballads and fuck-yous are never very far behind. Breaking up, according to Hepler, "has fueled rock since its inception. At 35, he's the musical archivist of the group, a ferocious, open-mouthed drummer with a penchant for Billy Joel his no-irony r - Independent Weekly. Romantic breakups can be many things, but "fun" is never on the menu. During the wound-licking stage, both parties generally want to get as far apart from each other as possible.

And yet John Booker and Rachel Hirsh have spent a long stretch of this fall in the close quarters of a touring van.

Because while they broke up, their band - the excellent pop ensemble I Was Totally Destroying It - has not. There are little fights and problems here and there that sometimes blow up, which we'll somehow resolve - either through actual mediation or just trying to squash it down for the time being and move on. Really rough. Immensely catchy and likable, "Horror Vacui" ranges from new-wave power pop to acoustic jingle-jangle, with Hirsh's keyboards in a starring role.

The hooks and harmonies are dead-on throughout, rendered with assurance and polish. But given the artery-hardened state of the nation's airwaves, that's not going to happen. We all come from indie-rock backgrounds, and this is the most pop project we've ever done. That wasn't intentional, it's just how it came together But it's also tough because we don't have a specific little niche we fit into. Between Richard and Linda Thompson, Fleetwood Mac, X and No Doubt, Album), history is littered with examples of bands outliving relationships and getting memorable music out of it.

Only one song on "Horror Vacui" was actually written after Booker and Hirsh broke up - the album-opening "Beneath You All the Way," with its wistfully anguished chorus declaration, "You can't drive me away. But their voices still blend together beautifully. Even as things were falling apart, Booker and Hirsh remained a perfect musical fit.

So it's a breakup album in retrospect, a lot of foreshadowing of the end. And the funny part is that I co-wrote all the lyrics, including songs where Rachel is saying really biting words about me. It wasn't until after we broke up that I took some of those songs' meanings more - and they became more hurtful in a way.

But there will be some fundamental differences when the band starts thinking about the next record. Writing for that is supposed to commence in early Gotta get down on Friday! So, other blogs, back off! It was a great night though! Most recently, they played at the SXSW festival where they gained a lot of well deserved press and new fans. Be sure to get your hands on a copy of their latest album from GreyDayProductions.

John Henry reminds us of a younger Jeff Buckley with a rock-grit tone in his voice that will make him go far. A little rehearsal on the parts will make things go smoother next time, guys.

If you are in the Atlanta area, this is a band you will want to check out and they will dominate the Atlanta scene, our best guess. Finally fixing a few keyboard issues, the band was ready to get going. As soon as the sound engineer asked for a thirty-second sound-check, all the heads in North River Tavern turned to the stage. It looked like and sounded like we were in for a great night! Their lead singer and keyboard player, Rachel, whose voice is so smooth and melodic, had an amazing synth arsenal including an awesome looking MOOG on stage.

Well, from the short conversation we had with Joe, a Nolin is what you get when you take the N, O, L, I, and N letters from a Ford Econoline van logo when they fall off and glue them to your bass rig. Throughout the night, drummer James kicked Cup Of Tea - I Was Totally Destroying It - Horror Vacui (CD the songs and kept the groove strong for bass player Joe and the rest of the band.

Why not a ten? Well, if the band would have given us a free CD, we would have definitely hooked you up! Just joking, this band really deserv - Indie Music Reviewer. I did make it in time to catch Alright Alright. Their songs were soul-edged indie rock, often bordering on minimalist folk. But the band performed like it was having fun and really loving the songs. None of the performers made a virtue out of a lack of ability.

At the same time, they refrained from a gaudy show of musicianship. Ultimately, Alright Alright was likeable because of its good stage presence and a sense of humor. Outside the hi-dive, a friend asked me what the outfit was like. How do you sum up a great pop band with more sonic ambition than most? But the group also played with an arresting power and force of passion. For this show, the band played mostly newer material that will be recorded for its next album—which promises to be a barn burner.

John Booker sang melodically and harmonized well with Rachel Hirsh, herself a commanding lead vocalist. You expect music like this to lift your spirits, but I Was Totally Destroying It also played with an unexpected intensity that elevated it above most of its peers. And every member of the band I Was Totally Destroying It fits that description: enthusiastic and talented. What a job I have to be able to sit and objectively hear the opinions of such levelheaded artists.

They touched on everything from why they love what they do to how they view the range of music in the Triangle and its progression over the last 15 years. About 30 seconds into their set, I knew I had to talk to them after the show. They just like everyone to say hi. Check these guys out, their MySpace site has a ton of songs on it. They are about to put out a new EP vinyl with a digital download, and only copies … and then a new CD in October with their new label Greyday Records.

I was amazed to find out they produced it themselves with just a little help from a local studio. Well Done! Alternative was actually used to describe those frighteningly creative bands that were only heard on college radio stations and through homemade mix tapes.

Where was I going with this… oh yeah, I Was Totally Destroying It would have fit quite nicely into that period in time. Preludes are actually a record six years in the making. The songs were started and initially shelved as the band went to work on what would become Vexations due out later this year. The songs are just as strong as those on their previous efforts, and the group pulls off the duo lead vocals thanks to John Booker and Rachel Hirsh better than most who have attempted it.

Preludes are 10 songs of solid indie pop that the band thankfully rescued from the discard pile. The album is out through Portland based indie label, Greyday Records. Aptly titled Preludes, the release was originally intended as a possible single or EP to act as a precursor to another upcoming album, Vexations, due in late I ran through all 35 ideas and they marked down their thoughts on each and voted. This resulted in a full length album of its own. Preludes involves themes of alienation and anxiety, set to an upbeat rhythm that allows you to feel optimistic despite the present anguish.

What drives Preludes is its upbeat tones, mingled with angsty lyrics. Stop wasting my time. I Was Totally Destroying It completes the ten-track Preludes with a song that could easily be the beginning of another album.

Curtis Armstead guitarJohn Booker guitar, vocalsJames Helper drumsRachel Hirsh vocals, keyboardsand Joe Mazzitelli bass are giving us a look at their deeper side with meaningful lyrics and catchy beats. They are saying what we all want to say, and they are having a damn good time. The five-piece, power pop band has created 10 well-balanced, catchy tracks that elicit a deep and more ambitious sound than the usual power pop sensation. While most bands spend their formative months or even years writing songs, diligently practicing, and playing shows until they head into the studio to record their debut record, I Was Totally Destroying It decided that was not for them.

Instead, the band got right down to business after their early inception and wrote the fifteen tracks that comprise their self-titled debut effort. Four months after their inception and their self-titled effort was completed. Make no mistake about it though, with those melodies comes a slight rock edge that sets the tone early that this is a band has a statement to make and commands your full attention.

I am sucker for well written pop songs that take the fun to another level, so when I heard the group sing-along and handclaps in the closing minutes over the chorus, I found myself to be quite smitten over I Was Totally Destroying It. This track was a complete surprise, and sticks out proudly from the other fourteen tracks on the album.

The band slow things down considerably and the instrumentation is sparse, but this adds considerable emotion to the song and it truly is an emotionally gripping song that is made more so by the beautiful piano parts added in halfway through the track. Another thing that sets this song apart is the intimacy of the lyrics, which mentions shows in Durham and listening to records among other things which are the sort of details that really draw a listener in. The first being that some of the songs seem to bleed together which is not a problem, but since some of them are lengthy, it becomes a struggle to reach the closing minutes of the album.

Also, the fifteen track album almost reaches the hour mark which is a little too long for listeners to keep interested in an album that mostly sticks to a powerpop format.

By the way, thank - AbsolutePunk. I know that this came out way back in April but I have only just heard it. But after wanting to have an EP to bridge between albums, the band went back and reworked some tracks until it grew into a whole other full-length. The result is a hook-heavy, super listener-friendly rock sound that hits instantly. Think: poppier Superchunk? There were goosebumps. The album really excels with its most rocking moments. This cache of extra songs turns out to be a treasure trove.

There is so much to enjoy and if this is just the prelude, there is so much more to look forward to. Back inthe singer and guitarist John Booker was contemplating giving up music altogether. Inthey'll release "Preludes" on Greyday Records in April before following it up with a second album by the end of the year. It's the band's "Rumours" Booker has said.

The material from Booker and Rachel Hirsh, the band's singer and keyboard player, about their relationship is brutally honest, scathing and entirely listenable. But as much as the band was experimenting, they found solace in familiar territory. We stumbled and hit roadblocks along the way, but ended up with two albums worth of material we believe in. I Was Totally Destroying It is rock and roll, bringing you back to the pop electric sound that once ruled the airwaves in the s.

Pop songs are meant to be played in less than three minutes, and IWTDI seems to have this formula working. Preludes features a refreshing wave of sounds and textures, of keyboards, a strong and punchy rhythm section and bright guitars in an excellence that many seem to forget.

The mixes in general are well rounded and the songwriting is to the point and diverse. Preludes is not just energetic, its explosive; the tempos throughout are upbeat, the songs catchy and flowing.

Holy shnikes! Where did this monster come from? And, one right after another the great songs pour forth from this band, which includes members of Sorry About Dresden. Reportedly, these tracks were culled from thirty-five songs dating back about six years. The result is a masterwork that will ride among the best albums of its kind all the way to the end of She sounds like no one else on the planet, and she and Booker play off each other really well. The musical dynamics and the general motility of the songs allows for some active vocal calisthenics, flavored with harmonies woven around the multiple layers of sound.

The hooks come fast and furious, but not in any predictable manner, drums and noisy guitars showing up when they feel like it. Sometimes it sounds like two completely different songs seamlessly spliced together into one: they soar and shimmer, arcing and twisting and turning all around themselves in rhythmic lunges.

Hirsh wants to make a mess of everything around her, to return to simplicity, to have a lot of fun. Indeed, Horror Vacui pushes I Was Totally Destroying It beyond the bounds of a return to innocence and youth, into the territory of a mature band capable of Album) a great record. That is, it refines and Album) a teenage urge.

Compositionally smarter and structurally more diverse than you might've imagined, I Was Totally Destroying It bests their past on Horror Vacui by wrapping willful growth into irrepressible pop songs.

They again land about half a dozen such tunes: Opener "Beneath You All the Way" is Booker's racing, open-road anthem about trying to stick around for love, even when the odds and the other party, it seems shout otherwise. Its chewy bass and boisterous guitars frame the four excitable minutes as they charge beneath the harmonies like a cavalcade. On the shorter, hyperkinetic "A Reason To," Hirsh heads in the other direction, exclaiming "Either way, I'm going to find a reason to break.

But even within these radio-savvy molds, the songs twist adventurously. James Hepler creatively works dynamics into bombastic rock drumming, and Booker and Armstead's dual guitars snap between smart textural atmospheres and lean, slanted lines. Hirsh even phases her synthesizer into and out of time with the band at one point, making the moment when everything locks into place during the chorus that much more compelling.

They race back into it together, capitalizing on their own interpersonal drama. Such structural intricacies extend beyond simply turning good pop songs into better pop songs, though: I Was Totally Destroying It has, at last, become best when writing outside of its familiar, frenetic trope, or at least when they're testing its limits. Several of Hirsh's lead turns, in particular, point to a broad sense of possibility—and the permanent anchor to hook—for the Chapel Hill quintet.

The aforementioned "Come Out, Come Out" shakes itself free of the usual guitar focus, choosing instead to follow a rhythmic lead. And her fragile turn on "Cup of Tea," the quietest and most subtly crafted tune in the band's oeuvre, is gorgeous.

Pensive and patient, she sounds like she'd wait all day for this whole thing to get better. There are some bands whose heartache and triumphs transmit like whispered confessions. Even with a fast tempo, meaning is veiled in metaphor, shrouded in reverent angst and symbolism. Instead, I Was Totally Destroying It spits epithets and observations like bullets, with a rapid-fire delivery that leaves layers to examine even after several listens.

But on the whole, the record is an alluring example of just how infectious well-crafted, fast-paced pop-rock can be. They make catchy rock music about introspection, strife, alienation and fractured relationships. Singer John Booker and Rachel Hirsh take serious subjects and glisten them to such a degree that it takes multiple spins to catch on because the music is either too fun or amped up. The band has, through a handful of albums, matured and grown. With its self-titled debut one entered a world of songs about youth, partying, friendships and the turned corner of early years and staring at forays into adulthood.

Preludes is a result of maturation musically and openness. The band's new CD, Preludes, from Greyday Records is more than listenable; it is stimulating and induces positive thinking. The quintet take the best of synth pop, emo and prog rock and mold it into something that is entirely their own.

That said, the results don't sound labored, one of the neat tricks that separates consummate pros from able journeyman. If Stamey and Holsapple hang on for another release in, say,the pair should just go ahead and call it Songcraftsmen: Then and Now.

Besides the thunder clouds of creaky organ and guitar spinning this jam, there's a blues shout akin to lines belched by the tattered Durham sages in Blind Blake's crowd"I feel like a rich man's dog. Blue turns black during "Wrapped in Fog," when our narratorunable to see anything in front of his face, holding on only to the salvation his old lady might offer[his own salvation via his old lady or his old lady's]laments aloud.

That's the blues, man, rich in innuendo, lust and mystery. You can hear the excitement in White's voice, even, as he struggles to keep his cool next to Dexter's icicle croon on this Geeshie Wiley classic. But rather than make White look a fool, the juxtaposition of the two voicesand their corresponding guitar tones Romweber's swings and chimes, White's sputters and squealsbuilds tension from a somber heartbreak ballad.

Romweber's aching tenor counters White's agitated howl, blowing the hot breath of emotional juxtaposition. The melancholy gets an ignition, and the passion gets a chill. Bryan Reed. The Dynamite Brothers break out the flares for this track, which channels vintage '70s soul for an homage to "the kind of woman that makes a man feel proud of himself," and makes "everything before feel like solitude.

Recorded in the summer of back when jobs were plentiful, the King of Pop was still alive and the Carolina Hurricanes were at least mediocre"Corner" is an easygoing jangle that knew little of the troubles to come in Actually, "Corner" is so infected with the nostalgic feel of worry-free summers that Embarrassing Fruits seem as if they'd be unaffected by the apocalypse itself.

And indeed they're not: Over a breezy melody, lazily strummed chords and cymbal splashes, frontman Joe Norkus recounts fond memories of poolside dances and conversations about coffee with the girl he's met on the corner.

When lightning hits their town and Jesus Christ comes down for a visit, the people scatterexcept for Norkus and his summer affection. Hell, they're even making babies while the town burns. The head of the song sounds inspired by Django Reinhardt, with violin and piano playing tight, rolling flourishesalmost glissandosin unison. But the quintet of The Firehouse Rhythm Kings has other plans for the number.

Drums, bass and banjo help a funk groove peer out and take over. Violinist and vocalist Joe Troop waxes poetic about the Southern dish of the title, though a sexual energy permeates the tune, suggesting that Troop isn't just referring to the meal when he sings, "You're my inspiration, you mean everything to me. Abandoning his blaxploitation, catwalking gig as one-half of the hip-hop duo Camp Lo, Geechie Suede changed his name to Suede Heron and transformed himself into a "cosmic space pony" rider along with Apple Juice Kid Apple Crack in the creative duo known as Freebass On this track, the two jacked a vocal sample from late's rock band New Radicals to lead a massive attack on music and its ultimate bliss.

This is about as good as "Luchini. Not the case here: The single verse that opens "Tilling the Wind" looks to build hope. By the time vocals return, drums have entered, crashing like waves against an outpouring of punishing, circular guitar. The payoff is triumphant, and Gray Young doesn't waste time getting there, either. Three minutes of righteous cinema. People I'm guilty, and so are you often peg Hammer No More the Fingers for their quirky pop sense and peculiar lyricism, and "Radiation" is a slightly askew, insanely catchy ditty that does little to change such claims.

It's about a girl, sure, just one who rides her motorcycleGeiger counter in hand, of coursethrough post-fallout Chernobyl. Who hasn't met a girl like that? But Hammer's imaginative brand of college rock revivalism comes colored with enough rad riffs and punk pogos to make the Durham three-piece deserve the power trio label.

Duncan Webster and Jeff Stickley trade strained, overlapping yelps in the verses, whichalong with the escalating tension of Joe Hall's minimal guitar movescoerce the plodding bass and steady drums into awakening when the chorus hits.

Stickley borrows a syncopated disco beat, and Webster slings bass notes that undulate like a yo-yo. A brief, spaced-out bridge allows the trio to muster up its strength for a final chorusa relentless chant of "Ray-dee-ay-dee-ay-tion"and a short but scorching guitar solo. Maybe revivalism is a misnomer. Were the '90s this fun, dudes? The howling doom metal that takes up most of The Invisible Mountain is a sharp contrast to Horseback's previous album, the more ambient Impale Golden Horn.

But the peak of Jenks Miller's second full-length as Horseback is a long, beautiful track that splits the difference. What makes it so hypnotic isn't just the dense wash of soundsomething of which Miller has already become a masterbut the way that sound coats and colors the gritty voice, melting its red heat into a spectrum of hues, a prism refracting a sunray.

If Miller's goal is to stretch metal's horizons, pulling it out of shadowy forests and into sunnier climates, "Hatecloud" goes a long way toward dissolving the genre's dark clouds. Marc Masters. Rachel Hirsh confides her relationship difficulties to her subject, bandmate John Booker, softly. Finally, she raises her voice, getting to the bitter part of the bittersweet: "You're in love with everyone but me," Hirsh declares, somehow keeping her cool.

The band opens up, leaps in and Booker's right there with them, mirroring the romantic woe breath for breath.

And that whole business about liking this song instead of liking the band is more than a bit reductive and superficial. Grayson Currin.

Time flies and beauty fades, but time fades away and bananas get gross after a few days. You get it, right? Things, especially we people, get old. For all the talk of Chapel Hill's Impossible Arms as a classic indie rock slacker trio, "Here on the Couch" offers a surprising shot of motivation through empirical cynicism and the simple desire to do something better. See, he's not mad at the complacent couchdweller, but he's got better things to do.

And that thing is to take two guitar solos that funnel electric Neil into one channel and live Thurston into another, backed by roadhouse support so good you can see the neon. Hey, is Haven Kimmel's mom into indie rock? Joe Romeo wrote this song back in his home state of Jersey, and it's the sound of someone plotting an escape. After springing himself and landing in Carrboro, he finally got to record it. The deep-strum, slow-smolder opening signals an epic folk-rock song ahead, and "Wearing Me Out" fulfills that promise.

His voice comes confidently out front, and backing from the mighty Orange County Volunteers provides the definition of sympathetic. Then summer became fall, and Romeoperhaps fearing another case of wear-out or, as his song goes, living in limbowent back north from Carrboro. He only stayed a month, though. He's back now, for a woman, and with, we can hope, more songs this brilliant. But boy, do they drive it.

It opens with a poignant comment, maybe about striving or perhaps about sex: "When you reach the crest with pains in your chest, there's not much a lady can do. There's no happy resolution: The song merely recedes into the horizon, cresting without denouement.

Shouts go out to those who ain't scared! Making subtle, sleight-of-hand music with beats is a lost art being dug up occasionally by record-heads and only occasionally by big-name labels. And Album) satisfactionhead-nodding, eyes-shut blissis the kind one gets from any good funk groove or deft hip-hop production blip. It comes simply from cycles of rhythm, a deep-voiced sample with bottomless character, and a latticework beat makeup.

As it builds into the vocal, edging along and clipping more of the vocal into the bumping frame, the ride is on, and the release is sweet. How appropriate that Raleigh-via-Greenville quintet Lonnie Walker slashes into "Feels Like Right" from a second pastiche of blurred tones and chopped drones: For a band that's favored fragments and epics for songs, this is an awfully concise and captivating pop number.

Both structurally and lyrically, "Feels Like Right" works much differently than other Lonnie Walker tunes, yielding the majority of the spotlight to an unforgettable hook and stringing the iterations together with a thin guitar tone that works like fishing line. As soon the lyrics "We've got one more to go" ring out, you know you're in for a war.

It's frontman Stuart McLamb's war, and it's a smash-and-grab of reluctance, joviality and lust. Plant your flag here. The only casualty is Lalita whoever she is. Imagine the anguish she might feel after being called out as the aggressor.

This is a beautiful-trash can-sort-of-love-song that, between the echoing cries, demands a sympathetic listen or shrinewhichever you choose. Lalita is an angel-person that we all know. We hate her and we love her. We can't find her, but she's right there.

Our only compass is a guitar that's screaming her or his name in every direction and language. Eventually, maybe, we'll find our Lalita. Any of the 13 cuts from Megafaun's Gather, Form and Fly our top album of could have been picked for this Top While I'll stand by my assertion that "The Longest Day" is the best song of the yearlocal or otherwiseit's an inaccurate representation of the full scope of Megafaun's sound and abilities.

Consensus favorite "Guns," however, encapsulates the trio's essence in a seven-and-a-half minute shell. The structure dissolves into a deconstructed collage of guitars and gongs. This seamless synthesis of experimental electronic techniques with organic instrumentation and traditional arrangements defines Megafaun's bizarre beauty. On Oh, Yell! And then, in the five spot, came "The Job Song," Catherine Edgerton's heart-wrecking lament about service industry frustration and futility.

It didn't permanently ink the record's often casual atmosphere, but it did demand that Edgerton and Kym Register be taken seriously as songwriters, not just good-natured entertainers.

Lanternsthe band's second record and first as a five-piece, is witty, certainly, but given its finessed performances and its focus on lost love and faced fears, it certainly doesn't seem light.

But "The Fish Song," which also checks in at track five, is a wrecking ball, jokes or no. It's Edgerton again, debating whether public embarrassment is worse than no one noticing when you're out of place. Singing as a fish out of water, and then a horse and a pig, she sells the scrambled metaphors like an expert witness. This fish is so happy to be here, but the air is going to kill her. Maybe "being out of water is the best way to drown"or live.

One of the several surprising successes on this year's excellent Hear Here: The Triangle compilation, "Right as Hell" is also, as far as we can tell, the recording debut of Raleigh duo Chris Hutcherson-Riddle and Mike Dillon.

It's a riveting way to begin: Dillon has been luring someone into his sympathy by not being himselflying, charming and joking until, as he puts it, he "became one himself. But Dillon sings like he's over it, like he's committed his crime, pondered it and moved on to turning the memory into a melody. After all, these were "little, little lies," andas Dillon hopes herethey do keep us on the nigh, waiting for more Motor Skills. If you're wondering, this is the moment in Genesis where Rachel, Jacob's wife, falls to jealousy.

She's unable to bear Jacob children, and so, to compensate and to keep up with her sister's fertiloty, she demands that he sleep with Bilhah, her maidservant. Suddenly, things so sacred and familiarlove, marriage, childbirthbecome complicated because of someone's feelings for the world around them. So, here, John Darnielle seems to see the child as a snapshot of innocence and possibility, both of which begin to fade as soon as they're glimpsed. Some people criticize Darniell's "inside voice," or that he's now as capable of crooning as he is belting.

This beautiful song deserves quiet reflection, and Darnielle delivers. Haskins continues, delivering his words as if through a haze. Ultimately, though, Haskins sees that it's not up to him. The quintet brings in strings, organ, and pleading dissonance for a chorus that says she must decide whether or not to "walk on thin air. Polvo 2. This band is more muscular and rhythmicalmost metallic, reallyand entirely accessible. Ash Bowie's voice is more pronounced in the mix than ever before.

Steve Popson's bass stomps like it's wearing lead boots.

Indeed, Horror Vacui pushes I Was Totally Destroying It beyond the bounds of a return to innocence and youth, into the territory of a mature band capable of crafting a great record. "Come Out, Come Out," after all, is a cry for rebellion that works because it's so tightly arranged and precisely executed. View credits, reviews, tracks and shop for the CD release of Cup Of Tea Records Compilation on Discogs. Label: New Sounds Multimedia - CNZ X,Cup Of Tea Records - CNZ X • Series: Acid Jazz (2) - 19X • Format: CD Compilation • Country: Italy • Genre: Electronic • Style: Acid Jazz, Trip Hop. Growing out of the club of the same name in Bristol, Cup Of Tea Records have been releasing quality tracks of slo-mo beat excursions and weirdelic sound collages in the time from to The label, founded by Pip Diaz, started with the release of The Mud Skipper EP by a band called Junkwaffel, remixed by Bristol royalty Portishead.

Jul 30,  · Liz Carroll plays this really jazzed up on her album "Lost in the Loop," but she plays it a fifth lower. Frankie Gavin and Alec Finn also record this on the Masters album. It's a fun 3-part tune.

Jul 30,  · Liz Carroll plays this really jazzed up on her album "Lost in the Loop," but she plays it a fifth lower. Frankie Gavin and Alec Finn also record this on the Masters album. It's a fun 3-part tune. Cup of Tea is an album by Irish traditional Celtic band Sláinte, which renamed itself Mooncoyne in Released in , Cup of Tea is a mixture of tunes and songs from Mooncoyne's repertoire. Track listing "The Banshee - Gravel Walks - The Old Copperplate" (Traditional) –

my cup of tea -favorite horror. Menu. Three short stories in the horror genre: the first about a serial killer, the second about a hair transplant gone wrong, and the third about a baseball player. Directors: John Carpenter, Tobe Hooper, Larry Sulkis | Stars: John Carpenter, Tom .

Dec 06,  · The Potrero Hillbillies do a song from the Kinks great album, Muswell Hillbillies. "Then I was placed on a spinning wheel," the cup said, "and suddenly I was spun around and around and around. Stop it! I'm getting dizzy! I screamed. But the master only nodded and said, 'Not yet.' "Then he put me in the oven. I never felt such heat!" the teacup said. "I wondered why he wanted to burn me, and I yelled and knocked at the door.

A list of lyrics, artists and songs that contain the term "cup of tea" - from the website.


Toxic Smile - 7 (CD, Album), MГ©lissa - Julien Clerc - PrГ©fГ©rences (CD), Orchestre Renova Band DAbomey* - Lo Dodds (Vinyl), Modulator - Edison Shine - Banana Chopper Four (CD, Album), Computer Caveman - Wild Tiger Affair - Lost Fathers (CD, Album), I Cant Wait - Neocolours - Tuloy Pa Rin (File), Watching Rainbows - The Beatles - The Lost Tapes (CD), Concrete And Clay - Various - History Of British Rock, Volume Three (Vinyl, LP), Cicek Gibi - Kaezim Sevim - Turkish Belly Dance (CD), Oz Vaa Loz - Oranim Zabar Israeli Troupe* - Songs Of The Negev (File, Album), Back To Earth - The Dave Brubeck Quartet - Countdown: Time In Outer Space (CD, Album)

8 Replies to “ Cup Of Tea - I Was Totally Destroying It - Horror Vacui (CD, Album) ”

  • Label: Barclay - • Format: CD Album, Reissue • Country: France • Genre: Pop • Style: Chanson Love version instrumentale Requiem version instrumentale La Mort des loups version instrumentale Concerto pour la main gauchede Maurice Ravel Muss es sein?
  • Jun 23,  · Cup of Tea Lyrics: Maybe your jacket is a hand-me down / Maybe you slept with half of your hometown / In a world of squares maybe you're just round / You can't be everybody's cup of tea / .
  • View credits, reviews, tracks and shop for the CD release of Cup Of Tea Records Compilation on Discogs. Label: New Sounds Multimedia - CNZ X,Cup Of Tea Records - CNZ X • Series: Acid Jazz (2) - 19X • Format: CD Compilation • Country: Italy • Genre: Electronic • Style: Acid Jazz, Trip Hop.
  • Lights That Last Forever. Chicago 's Darling have continued to evolve, re-shaping their sound with each album. On their new album, Lights That Last Forever, they've added a variety of styles - funk, garage rock and early nineties college sioprovcabradeperfscormarcodenmenssol.cohout two EP's ('s Ground is Sound, 's Burned by the Sun) Darling has shifted, as if wholly trying new things out, from blending moody and.
  • “Drinking A Cup of Green Tea, I Stop the War” In the early '50s, Paul Reps, who was in his forties, had traveled to Japan en route to visit a respected Zen master in Korea. He went to the passport office to apply for his visa and was politely informed that his request was denied due .
  • Dec 16,  · i was totally destroying it, "cup of tea" (from Horror Vacui, Greyday Records) It's been said that if you despise I Was Totally Destroying It, you might love "Cup of Tea.".
  • Sep 13,  · Check out Horror Vacui by I Was Totally Destroying It on Amazon Music. Stream ad-free or purchase CD's and MP3s now on Cup of Tea. Cup of Tea. Listen Now $ In MP3 cart View MP3 Cart 6. A Reason To.
  • Indeed, Horror Vacui pushes I Was Totally Destroying It beyond the bounds of a return to innocence and youth, into the territory of a mature band capable of crafting a great record. "Come Out, Come Out," after all, is a cry for rebellion that works because it's so tightly arranged and precisely executed.

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