Girl like me - ladyhawke - anxiety - Ladyhawke - Girl Like Me - YouTube. Girl like me. Provider best Girl ladyhawke. Watch video, get download or listen – for free favorite artists albums shazam! Chords learn how play chords diagrams (tab) tab free online player, speed control loop. Appears album Anxiety correct version.

Contents • • • • • • • • • • Background and recording [ ] Ladyhawke first revealed plans to work on a second album in a message on her official website in May 2010. She explained the four-year gap between her and Anxiety by saying, 'I had no idea how exhausted I'd be after I finished touring. I was physically incapable of doing anything. I tried to start recording about a month after I finished on tour and I turned up at the studio and just fell asleep. I was like a zombie.' The album was recorded in New Zealand and at 's house in the in early 2011. 'Working in, I am quite bad at getting distracted, so I think it was a ploy to literally lock me away.

My bedroom is right below the studio so there is no escaping. I can hear [Gabriel's] foot tapping in the morning as if to say 'wake up', she told.

Ladyhawke revealed that the album was propelled by the stress of writing and recording new music after two years of touring: 'I love having a fire in my belly. That was something that I had because I was really scared about disappointing people, and I knew I was going to go in a different direction. I wasn't going to stick with the same vibe that I had on the first album. I was really, really excited and keen to try something new but at the same time as taking that on I knew I might be disappointing some people. Trying to do my best under those circumstances was motivating.' She added that the album is called Anxiety 'because every song has that sort of feeling, my mindset throughout the recording was a mixture of being so tired and just being worried the whole time.

I'm a walking ball of anxiety. It completely sums up the album.' Musically, Ladyhawke stated that her second album would be 'completely different album and style' from its predecessor. 'It's lot more rocky. The tone of it is definitely darker. It's still poppy and fun, but I listened to a lot of guitar rock when I was writing it, stuff like,, and I've always wanted to make a guitar record. There's no synth, but there's some organ.

It's more of a straight-up record', she told the. In an interview with, she elaborated: 'I felt desperate to make a guitar record [.] It's still pop, but I don't know if other people would call it that. It's not '80s at all.

I don't think it belongs to any decade. It's a mixed bag of everything I've listened to or inspired by over the years.

There's elements of and Blur and in some songs.' She also described the album as 'a cross between '60s and '90s guitar music'. Artwork [ ] All the artwork for Anxiety was done by -based New Zealand visual artist Sarah Larnach, who was also responsible for the artwork for Ladyhawke. 'We got together to talk about the second album and the style of it and I really wanted to do something darker that was more line-drawing based and was really inspired by ' artwork.

That's my favorite album cover. So Sarah brainstormed and she came up with all this amazing stuff. She just nailed it. She's so talented', Ladyhawke said. Release and promotion [ ] Ladyhawke premiered several songs from the album during performances at the in London, the Phoenix Bar in Sydney and in, including tracks such as 'Vaccine', 'Blue Eyes' and 'Sunday Drive'. Originally scheduled to be released on 19 March 2012, Anxiety was eventually pushed back until May by Ladyhawke's label. To promote the album, Ladyhawke embarked on a twelve-date tour across the United Kingdom, which kicked off at 's on 23 April 2012 and ended at London's on 11 May.

Critical reception [ ] Professional ratings Aggregate scores Source Rating 64/100 Review scores Source Rating 6/10 7/10 5.9/10 4/10 Anxiety received generally positive to mixed reviews from music critics. At, which assigns a rating out of 100 to reviews from mainstream critics, the album received an score of 64, based on 18 reviews, which indicates 'generally favorable reviews'.

's Tim Sendra wrote, 'From the powerhouse thump of the rhythm section and the tightly controlled growl of the guitars to the well-placed and never standard synths, the sound of the album is impressive.' Sendra concluded, 'It's a great pop record with plenty of guts and a sense of reality that is so often missing from records that sound this fun.' 's Ben Norman called Anxiety 'an excellent offering' and felt that 'the songwriting yield[s] a lot of immensely catchy tunes', while noting the album's 'incredible remix appeal'. Camilla Pia of commented that on Anxiety, Ladyhawke 'retains the sizzling electronics and soaring melodies of her first offering, but delivers them like a sultry wrong'un wracked with self doubt, battering drums and attacking every guitar she can lay her hands on.' Ben Hogwood of remarked that '[e]verything [on Anxiety] is much more 'in the room' than the breezy, wide open spaces she favoured for the likes of ' and '.

The vocals have more of an attitude, too.' 's Brandon Specktor praised the album as a 'solid Ladyhawke winner', stating it is 'pop that actually pops—a tight string of hooky riffs, pulse-setting percussion and crowd-commanding vocals balanced on basslines sturdy enough for Pip to hang her flannels from.' 's dubbed Anxiety 'a buzzsaw-sharp pop-rock album, full of hard-charging hooks, with one foot toe-tapping in 1978 and the other planted firmly in 2012.' Reviewer Nick Levine described the album as 'pretty cracking' and wrote it is 'as tight and catchy as a '.

Jeff Leven of magazine critiqued that '[t]he problem with Anxiety is that it features some of the same trappings as her earlier work without the same strength of songcraft.' He continued, 'While Anxiety is not a trainwreck, it's a missed opportunity given the strength of her foundation.' Ailbhe Malone of the wrote that while Ladyhawke's debut album sounded 'fresh', '[t]here's nothing on Anxiety so arrestingly new or comfortably familiar.' In a review for, Scott Kara opined that compared to Ladyhawke, Anxiety is 'louder and more in-your-face, with guitar and synth of many different varieties [.] to the fore.

But curiously it's more ineffectual, the songs less memorable, and at 36 minutes it seems over all too quickly with the monotonous, almost aimless finale 'Gone Gone Gone'.' Nevertheless, Kara referred to songs like 'Sunday Drive', 'Black White & Blue' and 'The Quick & the Dead' as 'great'. David Edwards of commented that the album 'sounds great' and viewed it as 'a record that never quite seems comfortable in its own skin. With that generally being meant in positive terms. It's jittery, nervous, and full of self-doubt and dilemma.

But all underpinned by a swirling decadence and the tinge of chemical aplomb remaining amongst the morning-after blues.' 's Tim Jonze faulted Anxiety for its influences and found that 'the songs aren't strong enough to make it feel vibrant', noting that '[o]nly the chugging 'Cellophane' captures the giddy, filmic qualities of Ladyhawke's early songs'. Similarly, 's Dan Caffrey expressed that the album's 'poppy static lures one in right away, but the pulse grows tiresome due to its refusal to change', adding that it 'works best when Brown steps out of her comfort zone and displays genuine vulnerability', especially on 'Cellophane'. Matt James of panned the album as 'slightly rubbish' and concluded, 'If this is Ladyhawke trying to find herself, she's tragically lost sight of what made her amazing in the first place.' Commercial performance [ ] Anxiety debuted at number thirty-six on the, selling 3,910 copies in its first week. Track listing [ ] All tracks written by and.

Title Length 1. 'Girl Like Me' 2:55 2. 'Sunday Drive' 4:04 3. 'Black White & Blue' 3:54 4. 'Vaccine' 3:33 5. 'Blue Eyes' 3:17 6.

'Vanity' 3:00 7. 'The Quick & the Dead' 3:48 8. 'Anxiety' 3:24 9. 'Cellophane' 4:15 10. 'Gone Gone Gone' 3:53 11. 'Human' (CD hidden track and bonus track ) 3:11 Personnel [ ] Credits for Anxiety adapted from album liner notes. • Pip Brown – vocals, art direction, bass guitar, drums, guitar, keyboards,, producer • Simon Davey – mastering • – engineer, keyboards, mixing, producer, programming • Stanley Gabriel – engineer, programming • Sarah Larnach – art direction, artwork • – mixing Charts [ ] Chart (2012) Peak position 17 (Flanders) 134 12 36 US 12 Release history [ ] Region Date Label Australia 25 May 2012 New Zealand Germany Netherlands Poland 29 May 2012 France United States United Kingdom 4 June 2012 References [ ].

New Zealand.. Retrieved 28 January 2012. ITunes Store New Zealand. Retrieved 29 May 2012. ITunes Store New Zealand.

Archived from on 5 March 2016. Retrieved 16 October 2012. • Copsey, Robert (7 June 2010)... Retrieved 29 May 2012. • Brown, Phillipa (18 May 2010).. Retrieved 29 May 2012. 18 January 2012.

Retrieved 29 May 2012. 8 December 2011. Retrieved 20 December 2011. • ^ Jones, Bridget (28 January 2011).. Fairfax New Zealand. Retrieved 29 May 2012.

• ^ Marchese, David (15 May 2012).... Retrieved 29 May 2012. Plumbing Level 2 Revision Free. • Treuen, Jason (12 August 2011)... Retrieved 29 May 2012. 7 December 2011. Retrieved 20 December 2011.

• Chipping, Tim (16 November 2011)... Archived from on 17 January 2012. Retrieved 20 December 2011. • Copsey, Robert (28 February 2012).. Retrieved 29 May 2012. 24 January 2012. Retrieved 29 May 2012.

Retrieved 28 May 2012. • ^ Norman, Ben.... Retrieved 28 May 2012. • ^ Sendra, Tim.... Retrieved 30 May 2012.

• ^ Edwards, David... Retrieved 31 May 2012. • ^ Pia, Camilla (16 March 2012).... Retrieved 28 May 2012. • ^ Jonze, Tim (31 May 2012)....

Retrieved 3 June 2012. • ^ Hogwood, Ben... Retrieved 31 May 2012. • ^ Malone, Ailbhe (1 June 2012).. Retrieved 6 June 2012.

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Genx 600dpi Usb Scanner Driver Download here. • ^ (6 June 2012).... Retrieved 6 June 2012.

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• Kara, Scott (17 May 2012).... Retrieved 28 May 2012. • Caffrey, Dan (30 March 2012)... Retrieved 28 May 2012. • Jones, Alan (11 June 2012)...

Intent Media. Retrieved 12 June 2012. ITunes Store New Zealand. Retrieved 28 May 2012. • Anxiety (CD liner notes)... Retrieved 4 June 2012. • (in Dutch)..

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• • • • • New Zealand singer-songwriter Pip Brown took her stage moniker,, from the, claiming to identify with the steely strength of the titular heroine played by Michelle Pfeiffer. But the similarities extend far beyond that. Both entities are firmly rooted in the ’80s (despite one not rearing its head until 2005)–pleasant but ultimately forgettable pieces of pop culture that value style over substance. Ladyhawke the film visually captured the majestic countryside and crumbling ruins of medieval France, but its story of supernatural romance was gimmicky at best. Ladyhawke the musician doles out New Wave hooks by the earful, but they begin and end with their catchy-ness.

The majority of the tracks on her second full-length, Anxiety, teem with chilled vocals, crunchy guitar, and keyboard blurps that move hips to sway before showing their hollowness as soon as one steps off the dance floor. Make no mistake; there’s nothing wrong with repetition. LCD Soundsystem built an entire career out of lengthy cuts saturated with thumping disco bass and sugary distortion. But James Murphy possesses a keen sense of nuance and pacing, meticulously constructing his wall of sound brick by sonic brick. Although his songs are often anchored by a simple beat, he weaves in wildly varying tweaks and instrumentation for moments of both unleashed momentum and well-measured restraint. Brown on the other hand–an artist whose shorter melodies feel longer than anything off of Sound of Silver–often opts to start things with a tinny drumbeat that immediately gives way to a full volume stew of radio-friendly electronica.

Opener “Girl Like Me”, “Sunday Drive”, “Vaccine”, and closer “Gone Gone Gone” all take this approach. The poppy static lures one in right away, but the pulse grows tiresome due to its refusal to change. It’s as if she can’t wait to get to the good stuff.

Her apathetic vocal delivery only adds to the monotony. Lines such as “And now that you realize you see the pain in my blue eyes/There’s nothing more I can do than sing you lies” coast along with detached vibrato when they could easily be moments of snarling defiance or engaged grief. The verbal slickness makes for choruses that sound oddly robotic. Anxiety works best when Brown steps out of her comfort zone and displays genuine vulnerability.

The moody plod of “Cellophane” seems more concerned with catharsis than groove, and it’s the one moment where the singer connects with her lyrics, surprising given that nearly all of them deal with romantic turmoil. “No sleep tonight. We’re on the night train to anywhere but here,” she rasps and quivers, finally allowing the listener into her head by letting the coolness melt away from her voice. The song’s middle silences all the bells and whistles in favor of a cavernous tom and barely audible bass line. It’s a rare instance of subtlety that shows Brown is far more captivating when being sincere instead of flashy. If she ventures farther in this direction, she might have an album of ear candy that’s both instantly sweet and ultimately satisfying. Essential Track: “Cellophane”.