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Name:VintagePretty
Location:United Kingdom

An avid tea-drinker who likes nutmeg in her coffee and warm lavender-scented quilts. She knits, crochets and partakes in random acts of craftiness (and kindness). She likes obscure works of literature, philosophy and the idea that her mind exists separately from her body. She enjoys moving furniture around, literary criticism and baking bread. She writes haiku about nettles, would like to swim with seals and become completely self-sufficient. She writes as if her life depends on it, listens to beautiful music, and loves her darling husband Mr. VP.

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Sunday 30 April 2017

Music: April’s favourites

Few people can pen a song like Cohen could. And his last LP, released just months before his death, was one of the most lucid and adroit albums I have heard in a very long time. It is, like its title, full of darkness but what it lacks in positivity/rainbows it makes up for in pure lyrical genius.

Not a new one but one I re-found and fell in love with again. Marling has a new LP, Semper Femina, which is just as 70s-folk-laced and powerfully-written as ever.

Thanks to fellow blogger Melissa for highlighting this gem. The title track is pure Elton John if Elton and Bernie Taupin had been the protest singers of 2016/17 and they’d been tasked with delivering a highly-accurate description of the ridiculousness of humanity’s current predicament. It’s sad how accurate and cutting his lyrics are; in stark contrast to the poetic Cohen’s, which are cutting and accurate in metaphor.

It seems a few of this month’s favourites are artists who sound like other artists. Laura Marling sounds like a hybrid of Carol King and Joni Mitchell and Father John Misty who seems to channel pure Elton John albeit without any of the showmanship or platform shoes. I’m not sure whether Michael Kiwanuka would agree about the parallels drawn between himself and Curtis Mayfield and Marvin Gaye, but there’s definitely a familiar sound; his voice would be just at home in the 60s as it is now. It’s lush, with a huge intro, and a familiar melody that I can’t put my finger on.

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