Ali et son Avis sur Booking.com" est une chanson humoristique qui raconte l'expérience d'un client fictif, Ali, qui laisse un commentaire trompeur sur une réservation annulée à l'Auberge PVT. La chanson met en lumière les revendications exagérées d'Ali et sa demande de remboursement pour une nuit où il n'a jamais séjourné. Avec des paroles satiriques et une mélodie entraînante, cette chanson vise à dénoncer les avis injustes et à rappeler l'importance de l'honnêteté dans les évaluations en ligne

Ali et son Avis sur booking.com

Ali et son Avis sur Booking.com

Ali Et Son Avis Sur Booking.Com

This is a DEMO version of my band, Reclamation's song, 'Julia Preacher' This song will be one out of four songs on the full EP also called 'Julia Preacher'. OUT 21ST DECEMBER 2024.
DEMO PREVIEW.
Facebook-Reclamation Band
Instagram-reclamation_official
Email-reclamationband22@gmail.com
Based in Devon, UK.

My role in the band-Lead vocals and guitar

Julia Preacher DEMO

This recording is the very closest representation that I could elicit of what dawn in pre-colonial Tarndanyangga might have sounded like... The brutal and painfully obvious fact is that if you recorded dawn in 'Victoria Square', today, what you would end up with would be something from an entirely different world and universe than a dawn in pre-colonial Tarndanyangga. But what I yearned for was a recording of a dawn soundscape as near as possible -  geographically, environmentally, and ecologically - to the pre-colonial ecosystem and environment of Tarndanyangga. I knew that this task would be, in essence, impossible; and this impossibility is the real root of the pain and grief that these recordings fundamentally document and, taken together, express.

I scoured all of my recordings made within reasonable distance of Tarndanyangga over the past few years, and the nearest approximation that I could find was this present recording: it was made at a distance of 8.56 km (as the bird flies) from the centre of Victoria Square/Tarndanyangga, from the nearby eastern foothills, at dawn, on the 23rd July 2021, during a 'Covid-19 Delta' lockdown. (The original (unedited) full recording can be heard at https://soundcloud.com/hearingbeings/20210723-a-covid-19-delta-lockdown-dawn-winter.)

For this present re-presentation, in order to approximate a pre-colonial-industrial soundscape as much as possible, I have excised the one jet departing Adelaide Airport that appears in the original recording, and I have also tried to mitigate the noise of various instances of noisy vehicles (most of which were certainly not examples of 'essential services' vehicles). I suspect that there may be one other anachronistic ecological discrepancy in this recording: the possible presence of a variant call of Turdus merula (Common Blackbird) in the recording, a bird that is of course not indigenous, but which was introduced by homesick colonial settlers into this region, along with (according to local legend) the Common Garden Snail; supposedly because the homesick colonial settlers were worried that their beloved Blackbirds might not find sufficient or suitable indigenous food to keep them alive and singing.

This painting, by English artist H. J. Johnstone, entitled 'Evening Shadows, Backwater of the Murray [River], South Australia' (1880, oil on canvas (modified)), permanently on display at the Art Gallery of South Australia, is not a painting of Karrawirra Pari (Red Gum Forest River, aka River Torrens), which flows very near to Tarndanygangga: rather, it shows a scene from a 'backwater' of the Murray River (Ngarrindjeri: Millewa; Yorta Yorta: Dhungala (Tongala)) in South Australia. Even so, the scene that Johnstone depicts is arguably far more representative of the lived reality of the Kaurna people living near to and alongside Karrawirra Pari (Red Gum Forest River) than the one that I originally provided for this track: John Michael Skipper (1838), 'Adelaide from the Hills', watercolour on paper (https://www.agsa.sa.gov.au/collection-publications/collection/works/adelaide-from-the-hills/24228/). [For the very sad real post-colonial history of Karrawirra Pari, please see https://en.wikipedia.org/wiki/River_Torrens.]

Although Skipper's watercolour is geographically more relevant than Johnstone's oil painting, it is not chronologically, factually and existentially as relevant, because it is an image produced at a time after colonisation was well underway: in Skipper's image, one can see large tracts of land already cleared and bare, and even the distant smoke of fires indicating felled trees being burned. Skipper's paintings are truly a rare and extremely precious documentary resource, given that European paintings and drawings representing Tarndanyangga and its environs, including the vital Karrawirra Pari (Red Gum Forest River, aka River Torrens), either before or soon after colonial invasion/settlement, are either extremely scarce or simply non-existent.

Tarndanyangga

Satire in its finest form. A development of one of my favourite songs from one of my favourite films - there are so many meanings to this song. It's about being female, about the pressures of life as a woman in your teens, 20s and in general, it's about growing up in the noughties surrounded by magazines and media telling us how we should look and what we should consume to be considered 'pretty'. But it's also a commentary on society - because many of us don't see these things as a joke. We truly do 'love' them. Perhaps we should be thinking about that - if our value is based on the ever-changing list of things we need to update our bodies with to 'look better' will we ever truly be happy in ourselves?

my favourite wins

"I’m breaking chains, slow and scared... learning my name in ways they never gave it."

becoming whole is a personal journey in verse — a reckoning with the past, a questioning of old agreements, and a return to self. In this piece, I explore what it means to unlearn the stories that no longer serve me, to choose which chains to break and which truths to keep.

It’s about reclaiming identity, trusting myself, and learning to walk with faith — in the divine, in healing, and in the process. This is not a declaration of being finished. It’s a love letter to becoming.

Thank you for listening. If this speaks to something in you, I’d love to hear your reflections.

Poem: Becoming Whole (2025)

H0T C0@LS

"An artist's duty, as far as I'm concerned, is to reflect. the times." 
Nina Simone

𝔈𝔵𝔭𝔩𝔬𝔯𝔦𝔫𝔤 ℌ𝔢𝔞𝔯𝔦𝔫𝔤, 𝔱𝔥𝔢 ℌ𝔢𝔞𝔯𝔞𝔟𝔩𝔢, 𝔞𝔫𝔡 𝔱𝔥𝔢 ℌ𝔢𝔞𝔯𝔢𝔯, 𝔞𝔰 𝔞𝔫 𝔈𝔳𝔢𝔫𝔱, 𝔞 𝔐𝔬𝔡𝔢, 𝔞𝔫𝔡 𝔞 𝔇𝔦𝔪𝔢𝔫𝔰𝔦𝔬𝔫 𝔬𝔣 𝔅𝔢𝔦𝔫𝔤.

New tracks tagged #RECLAMATION