#musicvideo

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When you're casually in a music video for one of your favorite bands with your friends 💙🔥 #Villins #musicvideo #WearetheNight #sexy #glam #extra #Kendralsaunders #laurabregan #nyc #glamrock #glampop #extralife
Ahh it can be so scary though!! But it's always worth it.. Nelson Mandela said it best, "Courage is not the absence of fear, it's when you're scared and you do it anyways." #Repost @jakeducey ... ... ... #women #femaledirector #indie #independentfilm #filmmaker #success #director #music #DC #blackgirlmagic #money #filmfestival #producer #cinematography #photography #dream #shortfilm #filmcommunity #filmlife #fiction #Washingtondc #author #musician #musicvideo #washingtondclife #femalewriters #motivation
Self portrait.... Growing Pains 2 coming soon
I’ll be jamming this tune and a whole lot more when my “One-Man Rock & Country Music Show” makes a stop in Ellsworth, #Kansas this weekend! •••• #scotthelmer #concerttour #rockandroll #countrymusic #whatareyouwaitingfor #musicvideo #ellsworthcowtowndays #ellsworthkansas @godin_guitars @seagullguitars @elixir_strings @gatorcases #tourlife
#tuesdayshoesday 🎶you’ve never walked in anybody’s shoes and yours are worn from overuse🎶 Check out the full video for the Selfish music video in @brokensbest ’s bio or at https://youtu.be/5XgChd1ZJNc! . . . . . #music #musicians #musician #musiclover #musiclovers #musicstudio #studio #musicproducer #musicproduction #musicpromotion #musicislife #musicismylife #newsong #newmusic #song #songs #lovethissong #favoritesong #bestsong #musiclife #lovemusic #recordingstudio #musicvideo #selfish #tuesday #tuesdaymotivation #shoes #walk #🎶
Bas x A$AP Ferg - 'Boca Raton' #MilkyWay album coming soon 🥛🔥 ____________________________________________________ ■#Bas #milkyway #asapferg #asapmob #dreamville #realhiphop#music #good music #musically #songs#musicvideo#lyrical#flow#rappers#hiphop#newmusic#album#new#dope#flow#instagood#songoftheday#repeat#bumpin#myjam#lyrics#listentothis#goodmusic#songoftheday
🎥NEW🎥 СКОРО ВЫЙДЕТ «УЛИЧНАЯ КУЛЬТУРА» KEK CREW | COMING SOON «STREET CULTURE» #биты #musicvideo #hiphop #style #mu #kekcrew #street #streetstyle #russia #old #black
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⏯Cover Bruno Mars⏯♩❤🎤🎶🎶 Música 🔝 Monocromo🎲 #singer #musician #song #instamusic #musica #musicvideo #musicislife #musiclovers #musictherapy #cantante #cover
Group Project – Yonge Street (Audio) STREAM ON: 24ourmusic.net (Link in bio). Daily New Music Feed 🎶🎸🎤🎧 🎼 With The Latest Trendsetting Musicians Across The World 🌎🌏🌍 #24ourmusic #groupprojectmusic #edm #pop #popmusic #electronicmusic #electronica #soundcloud
> i know its been a while since i posted here. i was on a vacation for 5 days and had less social interaction than the goddamn flintstones. > have you listened to "you found me"? if not, you're missing out. i'm showing my more emotional side with this track, and more of these tracks are coming. link in bio and igtv video.
Who doesn’t love the Local Favorite???? @wonderbar_ac 🍻 | 🎥
This is the level of petty I aim for. ✨Nicki Minaj refuses to sign an autograph after a fan fails to name her first mixtape✨ . . . . #nickiminaj #onikamaraj #barbz #nickiminajfans #queen #rapmusic #rap #hiphop #hiphopmusic #musicnews #musicvideo #musicvideos #newmusic #newmusicvideo #vogue #voguearabia
When @joeylandreth issues a challenge....you listen. Just like when he plays a song :). In answer to that challenge of said song here’s my very own court métrage entitled Forgiveness. Hope you like it and if you want to see the full version it’s over on YouTube link is in my bio :) @therockslide @mythospedals #joeylandrethforgiveaway #joeylandreth #cover #thebroslandreth #transformationtuesday #coversong #music #musicvideo #music #cover #contest #musica #guitarra #guitar #electricguitar #folkmusic #pleaseletmewin #pleasepleaseplease #please #forrealdoe #musician #pop #popmusic #singer #guitarist #tuesdaymotivation #tuesday #tuesdaythoughts
S/O at my boy @king_tdash210 doing his thang on the RSAB DVD FROM @rsabdjtiz THIS SHITTTT GO FAM...FOLLOW HIM AND ME FOR NEW MUSIK COMING SOON🌎🌎🌎✅✅✅🎶🎶🎶🚨🚨🚨💻💻💻💦💦💦💡💡💡📀📀📀🎤🎤🎤⭐️⭐️⭐️👑👑👑 #podcasting #radioshowhost #985thebeat #sanantonio #supportlocalartists #unity #newmusicalert #independentartist #houston #dallas #texas #austin #miami #atlanta #newyork #california #chicago #musicengineer #producer #musicvideo #realsupporters #rapartist #editing
MAIN PAGE @whoismeloticxx
[PIC] HYOLYN(효린) - Special single ‘BAE’ Music video behind . Cr: dantejgerlo darrylkeith, christinaaalba, xsharonlix, deanna_leggett @xhyolynx #효린 #씨스타 #Hyolyn #Sistar #Surprise #release #special #single #BAE #new #mv #musicvideo #behind #bridʒ
Keep Being You by Isyana Sarasvati *maafkan dengan segala keculunannya 😂🙏* . . Gitar : @miftahfariiid . Bass : @choirulilmi . Drum : @fikaarrr #instrumental #instamusic #indomusikgram #instagood #drumndrum #coversong #musicvideo #musicphanatics @music.phanatics
#regram #🇰🇷
Just a quick lil innovation
Grind, grind, and more grind #letsgetit as me and the team continue to keep this content coming and working on fall material.... "No hand outs" #musicvideo #ontheeway #nohandouts #musicvideo #AOMME #loudafilms #AOK #tunes #film #graphicdesign #artist #selfmade #morephoenix 🔥
#DYGL Let It Sway . . . . #music #musicvideo #instamusic
Mitski doesn't want Be the Cowboy to sound like Puberty 2. She made a concerted effort to ditch the distorted guitars that rang through her 2016 breakout album. Instead, we hear her, loud and clear and at the front of the mix from the opening croons to the euphoric crescendo of "Geyser" — as its name suggests, a song about a woman erupting with passion too long caged. From there, Mitski takes delightfully unexpected turns at many points during the record, from the stuttering synths of "Why Didn't You Stop Me" and campy piano-pop of "Me and My Husband" to the disco loops of "Nobody" and pulsating "Washing Machine Heart." Closing track, "Two Slow Dancers," plays like an old movie, cinematic both in its sound and its story of a former couple sharing a sweet moment decades on at a class reunion. Throughout Be the Cowboy, Mitski's voice remains as hauntingly evocative as ever, her songs still melancholic and tinged with themes of loneliness and nostalgia. But this time, she's made sure we know the experiences of the characters in her songs are narrative works — not unedited diary entries, as they've been unfairly described in the past. The album is all the more impressive because her words and music are meticulously calculated, expertly arranged and still filled with feeling.
With the much-anticipated X, her tenth proper album and first since beating cancer, Minogue doesn’t tread much new ground. More surprising, however, is X’s lack of identity. Whereas previous albums found her tackling specific genres — 2000’s Light Years embraced disco; 2002’s Fever, club music; and 2004’s Body Language, R&B — X tries too hard to please everyone, and it suffers for it. Only occasionally does X reach the ecstatic heights of past hits like “Can’t Get You Out of My Head” and “Spinning Around.” On standout track “Speakerphone,” the highly stylized product of Swedish hit-writing duo Bloodshy and Avant (writers of Britney Spears’s “Toxic”), Minogue goes robotic. And while it features some of the emptiest lyrics found on X (“Breath taking/ Rump shaking/ Music making/ Lose control/ Say it on your speakerphone/ Track repeat go on and on”), it provides an unexpectedly good time (for a song about speakerphones). “Like a Drug” features a sample of New Romantic-era techno group Visage’s “Fade to Grey,” and it grinds and stomps with razor precision. “The One,” a new-wave powerhouse boasting an infectious disco beat, begs to be remixed and played at the club.  Equally engrossing “In My Arms” is fuzzed-out, synth heavy, and full of the kind of exuberant charm that made a track like “Love at First Sight” a past hit. With a whopping fourteen producers and twenty-six writers on board, the weak links may simply be a case of too many cooks in the kitchen. It makes for an uneven overall listen, even if there are plenty of worthy tracks. X isn’t the comeback album some may have been hoping for, but it was a welcomed return for Minogue.
Cody was featured on an episode of "Classic City Breakdown". He plays a piano version of the Grand tune "Slippin" and also gives the back story of the song. #grandtheband #codystalvey #duckcloudproductions #ccb #athens
Nicki Minaj is out to defend her crown. Widely feted after the release of her 2009 mixtape Beam Me Up Scotty, she's since achieved massive success at the expense of flagging critical enthusiasm. Now, with her fourth studio album, Queen, she attempts to stake a claim for her lasting legacy. Following the lead of “buzz” single “Barbie Tings,” Minaj spends much of Queen defending her throne from alleged pretenders: “Can't post on Nicki block unless you sellin' Nicki crack,” she raps on “Majesty." As if to underscore the difference between herself and these unnamed imitators, Minaj also brings in credibility-bolstering guest stars. On “Coco Chanel,” she links up with Foxy Brown—a show of elder-stateswoman solidarity that feels particularly calculated in the wake of her feud with Remy Ma. “Majesty,” finds Eminem name-dropping OGs like Slick Rick, Souls of Mischief, and Q-Tip, placing himself and Minaj in that same lineage. Minaj is obviously capable of backing up all the posturing. The politically incorrect, frequently hilarious “Barbie Dreams” is the Trinidadian-American rapper at her best: a fair-play reversal of the gross gender politics of the Notorious B.I.G.'s “Just Playing (Dreams)” that imagines a murderer's row of rappers and athletes in compromising positions. It's also arguably the album's canniest legacy-building move: Rather than engaging in squabbles and back-biting with other female MCs, Minaj implicitly places herself in the same league as one of the most prestigious male ones. But Queen also finds Minaj falling back on familiar shortcomings. The album loses momentum whenever it aims for the pop charts, first with guest singers Ariana Grande on “Bed” and the Weeknd on “Thought I Knew You,” then later on solo features “Nip Tuck” and “Come See About Me,” a pair of syrupy breakup songs that retread “Pills n Potions,” from The Pinkprint, with diminishing returns. Minaj is a capable enough singer, but it's sort of like watching Michael Jordan play baseball. Indeed, Queen tries so hard to impress everyone that it risks failing to satisfy anyone. The irony at the heart of Queen's thirst for approval is that the rapper actually doesn't have anything to prove.
The Aussie hitmaker’s follow-up to Fever, Body Language, is less immediate and more experimental, a midway point between the alternative/electronica of 1997’s Impossible Princess and Minogue’s more mainstream post-millennial work. It’s no coincidence that Body Language is filled with ’80s pop music references (she tips her hat to Reagan-era hits like Janet’s “The Pleasure Principle,” Chaka’s “I Feel for You” and, more directly, Lisa Lisa and Cult Jam’s “I Wonder If I Take You Home” and Dead or Alive’s “You Spin Me Round”) since much of the album is steeped in early ’80s synth-pop and disco. “Slow,” the aptly titled lead single is a minimalist electro-pop/disco fusion with percolating crackle-and-pop beats and sugary vocal overdubs. “I Feel for You” directly references the disco era with its muted guitar riffs and bouncy keyboards, while tracks like “Still Standing” follow in the nü-disco dance-steps of Goldfrapp’s Black Cherry. Minogue sings, “I’m still standing/Keeping you dancing…Guess who’s back on top?”. “Chocolate” and “Someday,” which features guest vocals by ’80s new-wave band Scritti Politti’s Green Gartside, evoke the breathy, forlorn vocals of Mono and the gauzy melancholy of Madge’s Bedtime Stories, while the hip-hop-flavored “Red Blooded Woman” blends Timbaland-style beats with candy-coated la la la’s and a ghostly choir of men (the voices of those she’s devoured no doubt). Body Language features several new, up-and-coming collaborators, but despite the additions, the album is surprisingly cohesive. The stand-out, bass-heavy “Sweet Music” is an ode to the magic of the modern singer/producer partnership: “I think we’re on to something/Your taste it mirrors mine/So hot and in the moment.” Body Language illustrates Kylie's willingness to take risks experimenting with her sonic landscape, and more importantly she succeeds. The record sits alongside Impossible Princess and Golden as a fearless evolutions in her dense discography.
Kylie Minogue albums work best as blank canvases, the versatile singer herself smattered in the paint of whatever pop subgenre strikes her fancy. Her 12th studio album lacks cohesion, but that hardly matters. She easily adapts to each persona suggested by her treasure trove of contributing writers and producers — including Kelly Sheehan, and the omnipresent Midas Touch radio saviors Pharrell Williams and Sia Furler, the latter billed as co-executive producer — and provides Kiss Me Once’s only real through-line with the effortless intimacy of her voice and her incomparable ear for dance-floor gold, no matter how random it all feels. Framed by two outstanding examples of empower-pop done right — the shimmering lead single “Into the Blue” and the radiating finale, “Fine” — Minogue here delivers cathartically sad lyrics complemented by bouncy yet warm synths. The majority of the songs here are club-ready, tightly produced romantic pop gems, as you’d expect. She enters familiar but refreshed disco territory with “I Was Gonna Cancel,” a Pharrell track that carries some serious “Get Lucky” vibes thanks to a Chic-inspired bass line underpinning a pulsating house beat. “If Only,” written by a trio that includes Ariel Rechtshaid and Justin Raisen, construct hazy dream pop in the vein of the writers’ past work with newer pop stars like Sky Ferreira and Charli XCX. The MNDR-penned, positively dripping “Les Sex” allows Minogue to have even more playful fun. Then there are the irretrievably cheesy moments, the most camp of which being the forced, uncomfortable Enrique Iglesias duet, “Beautiful.” But all is redeemed by “Fine,” a light and airy track that glimmers from start to finish: The lilting way her voice escalates on the word fi-i-ine in the chorus lingers in a way the evokes the very best pop songs. Therein lies the strength of Kiss Me Once: Minogue’s ability to turn any contrived situation into something positive, magical, and utterly her own.
Aphrodite is exactly the kind of record that one would expect when crossing Kylie Minogue with Stuart Price. That is–one of the most sleek, cohesive releases of her entire catalog. To put it simply: Yes, it does live up to the hype. The album launches with its first single, “All The Lovers.” The song is a solid representation of the bulk of Aphrodite, though far from the finest cut on the record. In fact, the soaring chorus and glittering electronica offer only a taste of what’s to come. With much of the record, the producers on the job have taken Kylie’s disco diva connotation and added a more complex, edgier layer of dance production. Cuts like the Calvin Harris-produced, Jake Shears-penned “Too Much” are evidence of this next level sound, sounding something like a thousand glitter-filled balloons bursting all at once inside of an intergalactic vortex. In “Closer” and “Illusion,” Minogue and Price orchestrate divine dark disco magic: The former, a slow-building haunter that shares connection to her older work (“Confide in Me”); the latter a complex mesh of ’90’s house and Ace of Base-like synthesized bliss. Throw in a relentless throbbing bass and a few sex sessions worth of heavy breathing, and you’ve got nothing short of musical bliss. Aphrodite is full of trademark “Kylie moments” –the euphoria felt during the middle eight of “All The Lovers,” the glitchy dance breakdown at the end of “Can’t Beat The Feeling,” the hands-in-the-air glee that is the chorus of “Put Your Hands Up (For Love)”–all of these fleeting moments of divinity only add more glow the hot pink, heart-shaped aura that surrounds all things Kylie. Kylie Minogue’s Aphrodite could not be perceived as more genuine to her artistry: the record is literally the essence of Kylie in audio form. The sparkling instrumentals, the euphoric, angelic coos–everything in this album is an authentic, unapologetic encapsulation the stuff of Kylie Minogue.
Sixteen-year-old Billie Eilish’s debut EP title warns you: don’t smile at me. It’s a direct order, a powerful declaration, a statement coming from the mouth of someone who knows who she is, what she likes and doesn’t like, and who won’t play by anyone else’s rules. The title perfectly embodies the strength and ambition of Eilish’s debut EP and of Eilish herself as an artist. Written by both Eilish and her brother Finneas O'Connell (who produces the EP and is nineteen – think about that while you read the rest of this review and possibly while you cook dinner tonight), dont smile at me speaks to every avenue of teenage experience with quiet brilliance. From hating yourself to hating everyone else, from falling in love to falling right out of it, Eilish doesn't preach but rather empathises, and her debut entirely does away with the shopworn notion that teens cannot intellectualise their own experience. dont smile at me is obvious in its R&B and jazz influences. Both "idontwannabeyouanymore" and "my boy" are rife with R&B beats and odd chords coupled with Eilish's crystal clear vocal, which throws back to crooners like Frank Sinatra. It's the expert production that keeps it from sounding kitschy. Opening with "COPYCAT", Eilish and O'Connell set the soundscape: the electronics are lush and deep, the lyrics wildly clever, and Eilish's vocal floods your brain even as she sounds like she's whispering. In "COPYCAT" and "my boy", Eilish could be chatting to you over ice cream on a hot day in L.A. This is perhaps the most intriguing thing about don't smile at me; in one moment, she sings "my boy's being suss, he was shady enough" and in the next she's crooning "if 'I love you' was a promise, would you break it? If you're honest, tell the mirror what you know she's heard before: I don't wanna be you anymore" It is impossible not to marvel at the David Byrne-esque marriage between layman's terms and poetry in her songwriting.  dont smile at me is a sophisticated debut for a remarkable woman, one that will no doubt solidify Eilish as a major player in the pop industry in the years to come.
We Was Turnt Asf #Sniper 🔥⛽️😬 #WestOrlando 💯💪🏾
Every dog should have a birthday party! • • #germanshepard #birthday #3yearsold #gsd
Great way to end the weekend!
Drive a Lamborghini ✔️
Yann Tiersen - Mother's journey Sometimes playing piano after studies cheers me up so I don't fall asleep. It's good 'cause there're still many things to do as usually 😌😴 ◾◾◾◾◾◾◾◾◾◾◾◾◾◾◾◾◾ #piano #music #video #musique #neoclassic #newage #musicvideo #forsoul #keyboard #tiersen #favourite #melody #leisure #time #musicians #home #lovemusic #love #fortepiano #play #journey #musician #musiclover #musiclovers #beautifulmusic
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