Gimme love. Gimme dreams. Gimme a good self-esteem. No, this isn't our new mantra for the blog, these are some of the lyrics from Marina and the Diamonds' new song 'Blue'. The track, taken from her FROOT album, has just received a candy-coated new video, which sees the singer enjoying her time at 'Dreamland' amusement park in the UK. The video, directed by Charlotte Rutherford (who coincidentally shot all of the photography from FROOT), is bright, colourful, and energetic, providing the perfect contrast for the actual lyrical content of the song.
"No, I don't love you/ No, I don't care"
'Blue' is essentially about the singer wanting 'one more night' and 'one last goodbye' with a past lover, despite the fact that she is sick of them and doesn't love them. It's certainly a sassy edition, with the singer showing her forte is definitely unconventional relationship songs with a certain lyrical twist.
I hate balloons...and fruit!
Stylistically, the video is radiant; pastel hues and bubbles of sweetness fill the air in typical Marina fashion. But underneath the surface there is always something else going on that's a little more sinister than first anticipated. Glitter tears, FROOT bubbles (and plenty of actual fruit-based items) and candy floss are just a few of the latest must-have Marina items and all tie in nicely with the theme of joy and sadness.
Marina lollin' it up on the hood of a car
The video is a little bit like what we'd imagine 'Bubblegum Bitch' would look like, with the overall sugary sweet nature that is a little false and overwhelming, but at the same time, quite brilliant. Sometimes the singer's videos have a tendency to be simplistic and lacklustre, but 'Blue' proves that Marina Diamandis is on top form with Rutherford manning the helm.
At the beginning of this month I had the great fortune of going on holiday to Western America, where I had the pleasure of visiting places like Los Angeles, Las Vegas, San Francisco, Yosemite and Mammoth Lakes. Of course, I had to pack several different outfits for the weather changes (seriously, it was snowing one day and extremely hot the next) so it seems only fitting that I share with you some of the photos from a particularly favourite outfit day. This was actually on the last day of my holiday in San Francisco, where we visited Lombard Street (famous for its eight hairpin turns). The street was incredibly beautiful with lots of houses painted different colours and some beautiful flowers. Plus there was a great view down the entire street.
So beautiful!
Seriously, a great view!
We took a cable car up to the street (because, why not?) and it was a great time and I chose to wear my favourite black maxi dress from Boohoo. Now, for a long time, I was very much under the impression that Maxi dresses somehow 'weren't for me' as I wasn't nearly tall enough and they would ridiculous on me. But just recently I have decided to pretty much say fuck it, and I'll wear whatever I like. So this was a big deal for me and I think the whole outfit looked great. I love this dress, it's soft, comfortable and flows beautifully. It has a side slit that comes up just above the knee (would be higher on a taller person) and I got it from the boohoo petite range. I am incredibly short (just reaching 5ft) so when I got the dress it was a little long, despite being from the petite range, so I cut off about an inch and a half to make it fit for me. The dress would probably be fine for anyone around 5ft 2 or taller. The bottom is folded over and sewn together (all you really need is some black thread and a needle). I teamed my maxi dress with a blue denim jacket with grey sleeves that I got from Primark (can't remember the exact price, but it was so cheap and looks great!) and my favourite white plimsolls and purple rope necklace (both from New Look).
Me and Yaz #teamtwin
If you have been dying to wear a maxi dress and you're short like me, but you haven't had the confidence to, then I highly recommend going out and getting yourself one. This one was only £12 and has become a staple piece in my wardrobe, and there are so many designs out there that are now becoming available in a shorter length. Let me know where you've found your favourite maxi dresses from, and especially if you are of a similar height, I'm always on the look out for great suggestions!
It has very much been the 'year' of Years & Years, with the trio making waves in the British music scene since summer last year. A number 1 UK single with 'King' marked them as serious musical contenders and later track 'Shine' managed to secure them a number 2 spot on the chart. Communion was hotly anticipated, but ultimately does it deliver and follow the suit of the seemingly pristine singles that the group have generated so far? As always, for a track-by-track review, keep reading below, and if you want to skip to the final verdict, scroll down for that.
Track-by-track:
‘Foundation’ is a suitable start to the beginning of the
album, which has a seemingly never-ending beat that is particularly haunting and
creates the sense as if it is building (a foundation) to something bigger. The
song has a distinctly ominous nature which is heightened by the mysterious
echoes in Olly’s voice and the dark instrumental sounds. If you want to read
our full review of this track in another post, click
here. ‘Real’ is up next and we’re calling this one as the Marmite track of
the album. It’s an odd mix of eccentric beats and breaks in tempo, which doesn't seem to ever really go anywhere or make any significant memorable impact, but it
might appeal to some. This one’s going to divide a few people.
From the glittering electronic beats to
Alexander’s smooth vocal delivery, track #3's ‘Shine’ is a real gem. Undeniably suitable
for summer, it’s not hard to imagine the connection to summertime sunshine that
will be made considering the lyrical content, but it is much more than just an
easy-to-listen-to track, with notable lyrics that have multiple meanings: “It’s shaking the sky/ and I’m following the
lightning/ I’ll recover if you keep me alive/ don’t leave me behind”. If
you want to read our full review of this track in another post, click
here. ‘Take Shelter’was the big smash hit of last year which definitely put Years & Years on the map. The track
itself focuses on the notion of a relationship which seems to be a little
overwhelming and careless, but intriguing; “We’re
running around like we don’t care/ It’s gonna leave its marks somewhere/ Do you
want to show me something new?” The overall vibe of the song is electro-pop
with synth-pop elements incorporated with dance beats, which makes for an
overall addictive and catchy sound. The musical composition of the track is
quite clever, and particularly radio-friendly, without being dull and too
repetitive. If you want to read our full review of this track in another post, click
here.
#5's ‘Worship’ is an easy, breezy addition to the Years &
Years discography, this one has the usual highs and lows that are becoming a
signature of the band, performed at their best. Sounds a little similar to ‘King’. ‘Eyes Shut’ features an interesting piano chord
opening, and this one’s more of a ballad, showcasing a distinctive change in pace
from the previous tracks. It’s perfectly pleasant, with a mix of bass beats
than come in 30 seconds into the track, but it’s relatively average. Offering an intriguing break with a middling tempo, 'Ties' is next, and soars with the help of Alexander. “Just another bite that takes it higher than before” is a favourite
lyric. ‘King’ was one of the best feel-good tracks of the year, which was recently used as the headline track for Radio 1’s Big Weekend. This one's a
triumphant mix of electro beats and vocal echoes which will bewitch any
listener.
#9 is ‘Desire’ and admittedly, it isn't as catchy as ‘Take Shelter’,
but showcases Alexander’s smooth vocals rather well, and of course, the beat is
incredibly groovy, suiting the band well. It is a capable creation that any
dance fan will no doubt love. If you want to read our full review of this track
in another post, click
here. ‘Gold’ follows, and is a bubbly, radio-friendly addition that provides
a suitable anthem for anyone wanting to ‘let go’. ‘Without’ sees the album through track number 11. A triumphant electro ballad that unifies
with Alexander’s varying vocals to make a real ‘communion’. At #12 is ‘Border’ and whilst there is nothing particularly grabbing
about this track, it benefits from a slick production and the feel-good vibe
that seems to encompass the band at their very core. ‘Memo’ is offered up as the closing track, as a
slow-paced rhythmic piano mix that makes use of the best qualities of Years
& Years: their vocal delivery, musical prowess and haunting sounds.
Overall verdict:
Let’s get one thing straight: a timeless classic, this is
not. But who says anything has to be timeless to be significant? It’s been
noted by some that Communion changes nothing in the music scene, that it is
merely music ‘of the now’ and to an extent that’s true. But why must it be sad
is such a negative manner? Why can’t something in the now be just as good as
something that allegedly lasts forever? Communion’s appeal comes in the form of
its blissful beams of electro-pop sunshine, which offers up moments of true
enjoyment for listeners. Whilst none of this is ground-breaking, it doesn't have to be, to be enjoyed. Whilst Communion relies on its simplistic nature and
Alexander’s vocal delivery to sail it through to brighter shores, there are
times when it loses its way and ends up sounding a bit too similar for its own
good. Nevertheless, Years & Years have carved their own square in the sand
where those who want to can come and listen to it and revel in its warmth – if only
for a short while.
With each new puzzle and half-answer, Pretty Little Liars is getting closer to its Summer Finale (3 episodes to go, people!) and look how pleased Aria is! We're only kidding, but the most recent episode 'No Stone Unturned' featured a whole host of critters including rats and raccoons, which was certainly an interesting choice from the show. As usual we will be summarising the highlights of the episode in our recap below first, with our review of the overall episode following after that. So, if you haven't seen it yet and don't want a spoiler-filled recap, then skip below to our review section!
RecAp:
Another day, another problem in Rosewood (seriously, has no one ever thought of moving?). This time it's Lesli and the Liars are convinced that she is up to no good. Hanna wants to get things moving and solve this mystery quickly (she really has improved her productivity levels from the first season) and charms her way into getting Lesli's car from a clueless valet. Teaming up with Spencer, Spanna then investigates the vehicle and finds a key card they can use to get in Lesli's lab. Great idea. I'm sure if Lesli was A she wouldn't, you know, have it booby-trapped or anything. Wicked plan. We also find out Lesli wears fake glasses (really?) and some impromptu trying on of the spectacles ensues, with Spencer really rocking that look.
Spencer tries on her new look
Meanwhile Aria and Emily are going to put Clark's photos back, and on their way out they happen to run into Clark (aka. Creepy Person #2) who insists on helping Aria look for her 'tripod' (a poor excuse she has made up for being back there). Emily then promptly ditches Aria for new bestie Sara (seriously Emily?? You've known this girl for what, a few weeks? Talk about poor misuse of the Buddy System) and Aria is left alone with Clark trying to 'help'. Time out, Emily is seriously coming across as a fixer-addict (think Cameron in HOUSE) and appears to love broken people. She really needs to sort out her priorities. But back to the recap. Emily is offered a fantastic opportunity to go to Thailand but turns it down to look after Sara after she gets supposedly 'grazed' by a vehicle coming home. Of course, this all seems very suspicious.
Emily & Sara; gif by Swedishfishrule on Tumblr
Caleb appears to be feeling more and more out of the loop in this episode, running to Hanna's mum for comfort (the two appear to be on real buddy terms), whilst Hanna is avoiding him like the plague. But, after coddling Hanna for too long, Caleb is done with it and marches into Hanna's room, tell her she needs to quit it, and the two begin a long make-out session in her room.
Caleb & Hanna; gif by alisonqueendilaurentis on Tumblr
It's a pity the same can't be said for Spoby (Toby & Spencer) as the former has been completely absent recently while new guy Dean makes the moves on Spencer. This is somewhat a recurring theme when Toby isn't around, and we wonder how long this one will last. Dean is interested in kissing Spencer, Spencer sort-of rejects him, but still seems interested. This stuff can get very confusing sometimes! Make up your mind Spencer, and where the hell is Toby? Does he have some sort of absent-quota to fill? Does he get a bonus every time he is 'away' and someone tries to hit on his girlfriend? These are important questions. Another Liar who seems to have a barrel of bad-luck in this episode is Aria, who finds a creepy doll in a junk-yard that looks like her (apart from the utensil stuck in its bloody eye) and seems upset when she finds Ezra chatting up another woman.
The creepiest DIY doll ever?
Although, she does get her former beau to willingly give her a reference for her photography competition with massive embellishments. You win some, you lose some? Back at Leslie's lab, Spencer, Aria and Hanna investigate. The trio find that they have chips in the back of their necks when Hanna accidentally stumbles upon a metal-detecting device.
"Why am I beeping?!"
Spencer is on hand to figure out the problem and the trio aren't best pleased. After which, Hanna, in a moment of caged-sympathy, releases a raccoon and rat (you have to love her). Spencer and Hanna are cornered, Aria comes in and has a rat jump on her shoulder and the group are promptly saved by Mona who shows up in a most creepy fashion.
Surprise, bitches.
Whilst the group seem convinced Lesli is Charles, Mona is not, and says that Lesli simply doesn't want people to think she is unstable. She does however reveal that Lesli and Charles escaped Radley on the same night. Wait, what? Oh so Charles isn't dead then (not that we ever believed he was). The Liars seem unconvinced, but Mona shoots out some solid evidence and now it seems Charles isn't actually dead. Go, figure. Back at Emily's, Emily tries to investigate Sara for a chip but Sara wakes up and starts kissing her. How convenient. Who's taking bets that she doesn't have one?
Emily & Sara; gif by Swedishfishrule on Tumblr
Other things that happen in the episode: Peter DiLaurentis receives a super creepy card from Charles which insinuates he is coming back to kill daddy. How sweet.
Overall creep factor of the episode, a solid 7/10.
Review:
Whilst the episode contained plenty of creepy moments, it was fairly lacklustre in moving the plot along at any substantial pace. The current Emily/Sara saga seems overly contrived and not especially suited to the former's character at all. Thankfully, it seems that we may only have to suffer for a few more episodes in that respect. Spencer and Hanna's dialogue was fortunately one of the more interesting moments, with the two proving they make quite the unstoppable quotation team. We can only hope we see more of them two for the rest of the season. With so many new characters being introduced to Rosewood and so many of the old characters being seemingly forgotten about, we can't help but wonder whether this is a clever move by the show-runners or a simple case of ignorance. Naturally, we hope the former, as it could mean we are building up to something more, but it seems foolish to forget (and neglect) old favourites in favour of introducing some new (and increasingly annoying) characters that don't seem to have much effect on the general storyline. Similarly, last season, Mona had some real 'moments' and Janel Parrish's performance as the character was one of the more favourable moments and yet she has been somewhat absent from the season so far. The same can be said for Sasha Pieterse, who despite being arguably the centrefold of the series has yet to make a strong impact on Season 6, and in particular this episode, which she was notably absent from. Overall, the story was average and didn't particularly add anything, other than to write Lesli off as a suspect, although there were a few funny moments from Hanna, Spencer and Aria. Hopefully the coming episodes will provide a real impact and switch around some of the character dynamics of the season so far.
Watch the Episode 7 promo 'O Brother, Where Art Thou', below:
Lana fans rejoice, as Del Rey had released the title track 'Honeymoon' from her upcoming album of the same name. The album, slated for release in September sometime later this year, comes after the release of her acclaimed Ultraviolence album, which was released in June last year. Known most prominently for her cinematic ballads, 'Honeymoon' is no exception, with sweeping vocals and soaring strings being at the core of the track.
Image; The Guardian
Standing at 5 minutes 54 seconds, the track has a distinct summery feel, and following suit of recent releases 'Big Eyes' and 'I Can Fly', it has that element of high drama and cinematic edge. Featuring some big instrumentals including military drums, piano chords and strings, 'Honeymoon' is a triumphant return for the singer who has found a name for herself with her old style vocals and classical elements. It's certainly a long and drawn-out effort, (although Del Rey doesn't seem to do anything small when it comes to her music) and it pays off, with the song being equally enticing and atmospheric.
