Devore shows off her enchanting voice on her new EP.
Deanna Devore just dropped her latest EP, half and half.
The EP was self-produced by Devore in her home studio in Toronto, and she also plays all the instruments on half and half. The title refers to the EP's structure, with half the songs reflecting Devore's mesmerizing electronic sound, while the other half feature an unplugged acoustic style.
Devore explains the Janus-like EP, saying, "I'd like to be known for my versatility and love to write in various different genres, while still maintaining a consistency."
Splitting her time between Chicago and Toronto, Devore has performed at Summerfest, NXNE, CMJ, and 80/35, as well as sharing the stage with Jamie Cullum, Bonobo, SG Lewis, Lapalux, Kat Edmonson, and Basia Bulat.
Encompassing seven-tracks, the EP opens with an R&B-flavored tune, called "Seven Eight." A lightly sparkling filament of pop energy runs through the chorus, giving the tune a cool, tantalizing ambience. My personal favorite is "Effortlessly," a sophisti-pop tune laced with smooth R&B coloration. Vaguely reminiscent of Sade, the music flows on sensuous textures.
"A Cause" rides a creamy electronic R&B melody full of lustrous harmonies. Elegant surface harmonics flow as Devore's hushed, fragrant tones provide hypnotic hues. "Fuels" drifts along gentle colors and a measured rhythm. Suffused with soft luminous timbres, Devore's voice is positively enchanting.
Of the three remaining songs – "In A Way," "Breathing Room," and "When I Go Home" – the first two are acoustic numbers with a Joni Mitchell-like feel. "When I Go Home" blends electronic elements with undulating orchestral-lite dynamics.
With half and half, Deanna Devore demonstrates her versatility and the haunting beauty of her buttery, entrancing voice.
Randy Radic is a Left Coast author and writer. Author of numerous true crime books written under the pen-name of John Lee Brook. Former music contributor at Huff Post.
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The classic He-Man meme video stands the test of time as an iconic example of queer-coded art.
In December of 2005, Brokeback Mountain shifted queer-coded cinema into the mainstream.
Prior to 2005, "New Queer Cinema"––a term coined by film scholar B. Ruby Rich in Sight & Sound to define the queer-themed independent film movement, which focused on rejecting heteronormativity and concentrated on LGBTQ protagonists––existed on the fringe of the film world. It's worth noting that while the movement primarily refers to the boom in independent LGBTQ films from 1992 onwards, queer cinema existed for many years prior, albeit without a proper name. But regardless of nomenclature, New Queer Cinema was typically designated for niche audiences, relegated to arthouse showings at best.
There's a big problem with the trailer for Morbius, Sony's upcoming Marvel outing that is definitely not part of the Marvel Cinematic Universe even though it has Michael Keaton reprising his role as Vulture (please let us keep our license, Disney!).
See if you can spot it.
MORBIUS - Teaser Trailer www.youtube.com
If you answered, "Sampling Beethoven's 'Für Elise' to line up with blue-tinted action shots is the absolute lowest effort, brain-dead attempt to signify 'gothic vampire movie' in the entire history of movie trailers," you're correct, but that's still not the biggest problem with Morbius. No, the biggest problem is that Morbius is played by Jared Leto.