Ethel Cain Sad Music For Sad People (as White...

Umm @the ocean @bigspender just wanna ask if you guys have full album audio files of arcane vessels and colossus and full ep audio files of morning after and sad music for sas people if you guys have it can you post a google drive or mega link for me to download it ?

Ethel Cain Sad Music For Sad People (as White...

Download Zip: https://www.google.com/url?q=https%3A%2F%2Fvittuv.com%2F2ueogk&sa=D&sntz=1&usg=AOvVaw2ROFY86PcjUwN25oYFiATf

Did you have a theater department in your high school? And you know how everyone in there is like \u201CI\u2019m a misfit\u201D to the max, and they\u2019re just the most misunderstood person ever? So it\u2019s this little strip bar\u2014it\u2019s literally the venue I\u2019m playing in Tallahassee on my tour, which is really embarrassing. We were a bunch of 20-year old shitheads who would wear all black, black eyebrows, black lipstick, so slutty, so goth. Every weekend you\u2019d get drunk, put on your best outfit, walk over to this little bar in this weird part of town, and they\u2019re playing The Cure, Deftones, all this heavy thump-thump goth music, and there\u2019s people getting whipped on stage and everyone\u2019s hot and crazy. Then you\u2019ve got the older generation of goth people, like rockabillies and bikers. It was so fun to get so fucked up and smoke cigarettes on the patio with someone twice your age and play pool with all these goth people. You were always out until four in the morning and then somebody is drunk-driving to Steak \u2018n Shake who should not be. Tallahassee\u2019s a college town, so there\u2019s the rich kids partying in their $4000 apartments and being uppity, and then there were the parts of town where the weirdos congregated, all the different flavors of alternative. I did a performance there once, under my old name, in a bodysuit and I painted horns on my face. It was so weird. The vibes were, like, rancid, but they were also great.

I spent one year there, and in retrospect\u2014I don\u2019t want to speak ill of the people I lived with, but we were friends when we moved in there, and we were not friends when we moved out. You go from sunny Florida where you\u2019ve lived for 22 years, and you move to a random town of 2000 people to live in a church. All the locals said it was one of the worst winters they\u2019d had in a while. It snowed up to my thighs and then froze and I was snowed into my house. I finished my EP and then slept for 12 hours a day under a sherpa blanket in the basement watching Family Guy. I spent all my time listening to Chelsea Wolfe and driving around this frozen tundra of farmland. I had an encounter with a cryptid out in the middle of nowhere while trying to do a photo shoot. I love the Midwest because it is so scary and weird and cold and bleak. There\u2019s a bleak charm. In Florida, there\u2019s never a dull moment, and the Midwest is nothing but dull moments. I found myself retreating inward because there was nothing else to do, so I would just skulk around this 200-year-old church or go for drives for hours and hours, just driving every single back road listening to my heavy goth rock music. But I will say, spring did come, and I had about three to four good months sitting on hills, riding my bike and hanging out in cemeteries. But yeah, the Midwest is mad bleak. It\u2019s a crazy spooky place.

No! No, no, no. I do appreciate the platform, not that I think I\u2019m anything of an oracle or prophet or some shit like that; but I have things I would like to say that I think might be relevant to this clusterfuck of a country. But I don\u2019t want to be famous. And people are always like, but you\u2019re actively taking the steps to become successful. Well, the world is a scary place, and I would like to be at least a little bit comfortable and be able to have enough extra money that if my sister slices her hand open, we have enough money to stitch her up. I\u2019m not going to go for something and be bad at it. My parents raised me to do everything you do 100%. So I\u2019m going to do a good job and make good music. I would like to have the resources to help people who need it, and nowadays, if I want the reach of my work to go far, so does my face and the parts of me I don\u2019t really care to be known. It\u2019s an interesting thing when you\u2019re raised the way I was\u2014none of that is achievable, it\u2019s like a pipe dream. So when it starts happening, and you\u2019re 24, like, I don\u2019t know how to handle this shit. There\u2019s so many things going on all at once that I\u2019m kind of just like: \u201CStick to your words, stick to your goals, do a good job, and be as nice as you can to everyone you meet, and whatever else happens, happens.\u201D

There isn\u2019t much of an artistic middle class anymore, and there\u2019s also this kind of fetishization, or at least an extreme interest, in pop music. For instance, lots of people refer to you as a pop star and your songs as pop music.

With 2015's How Big, How Blue, How Beautiful and even more so with 2018's High As Hope, Florence took her sound in a more comparatively subdued direction, and came out with some truly stunning music in the process. But if you miss the more bombastic Florence of "Dog Days Are Over" and "Shake It Out," you're in luck; Dance Fever is almost an entire album of those. The album and title was inspired by choreomania, "a Renaissance phenomenon in which groups of people danced wildly to the point of exhaustion, collapse and death," but Florence also describes the songs as "Nick Cave at the club," suggesting that there's a more brooding and personal undertone beneath those dancefloor anthems, and that is absolutely the case. She wrote these songs at home during COVID lockdown, and then recruited Jack Antonoff and Glass Animals' Dave Bayley to help her bring them to life, and it's good that these are coming out at a time when she's able to take them on an arena tour, because those are exactly the rooms these song are built to be performed in. 041b061a72