Lewis and her cohorts had exhibited an affinity for boomer-era rock on their own, and now they were deliberately connecting their work to their wizened forefathers. Sheâs still writing funny and smartly observed vignettes about searching for meaning in all of the wrong places â on the road, in bars, and in dead-end relationships. This is Lewisâs first solo LP since 2008âs Acid Tongue, a good record composed of strong material ill-served by wan production. And then sheâll pinpoint the catastrophes in trivial encounters, like the series of hilarious Hawaiian vacation fuck-ups described in âAloha and the Three Johns,â which may or may not portend the apocalypse. She coped by watching boxing and, in 2013, touring with the reunited Postal Service. In 2010, she released the breezily enjoyable but largely inconsequential Iâm Having Fun Now with boyfriend Johnathan Rice as the duo Jenny and Jonny. Rather, itâs a loose and wily collection of story songs. The symbolism wasnât subtle: This was a collegial bunch of pals emulating a collegial bunch of much more famous pals conor oberst dating jenny lewis. yacht-rock sound of the late â70s and early â80s with intermittent success. In recent interviews, she has talked about struggling with insomnia during this period.
Iâd be lying if I said that my love of The Voyager wasnât rooted at least partly in gratitude for simply having Jenny Lewis back making Jenny Lewis records. But the passage of time is felt deepest in the evolution of Lewisâs craft as a songwriter and record-maker. The rest of The Voyager is similarly constructed â billowy and compulsively listenable candy that draws blood from its lyrical razor blades. Like Lewis, Oberst (the second-most talented member of the âHandle With Careâ clan) is a pop confessionalist genuflecting at the altar of â70s stalwarts like Jackson Browne, Joni Mitchell, and Paul Simon. But he still seems uncomfortable navigating his post-wunderkind career; his hero worship of vintage SoCal folk pop on Mountain never finds its way out of âfurrowed browâ territory. Lewis affirms her mastery of this tricky, sweet-sour brand of musical catharsis on this album. â Fleetwood Mac homage, Under the Blacklight. dating back to the first Rilo Kiley record, 2001âs Take Offs and Landings. At the time this seemed both reverent and a little bratty. This has been Lewisâs songwriting M.
Looking back, covering âHandle With Careâ stills seems a little bratty â¦ for Oberst, Gibbard, and Ward. fm account and scrobble everything you listen to, from any Spotify app on any device or platform conor oberst dating jenny lewis. Itâs hard to imagine Oberst sounding as relaxed as Lewis does on âJust One of the Guys,â a slyly profound meditation on how gender dynamicsÂ are inevitably thrown out of whack by the biological clock.site de rencontre twoo.. Lewis can break down tragedies with laser-focused one-liners, like summing up a callow ex in âThe New Youâ withÂ how he used 9/11 as an excuse to break up with her. Juxtaposing her with rock royalty no longer seems like an affectation, but natural, if not self-evident. But her confidence as an artist has now matured into a quiet assurance that makes â to name one recent example — Oberstâs 2014 album Upside Down Mountain sound all the more deadly stiff. Connect your Spotify account to your Last. But she has never sounded as musically sweet, and as wise, as she does on The Voyager. .Site de rencontre hp.
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