The Line Is A Curve

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Facebook TV Commercial, 'We're Never Lost If We Can Find Each Other' Song by Kate Tempest". iSpot.tv . Retrieved 9 April 2020. All that fear was about shame,” Tempest says. “I was afraid, because of internalised homophobia and transphobia. I was afraid to be who I was, because I’d learned that it was ugly. I was resigned to being wrong all my life. Coming out and saying I’m trans, non-binary, is me saying I’m on a journey.” They’re still not certain where it’ll take them. “But I realised the ramifications of what might happen didn’t seem as scary as living with this boiling hot secret in my heart for eternity.” I am aware my brain is intense. It’s like this weird mate always hanging out with me

Beaumont-Thomas, Ben (6 August 2020). "Kate Tempest announces they are non-binary, changes name to Kae". The Guardian . Retrieved 7 August 2020. a b Isherwood, Charles (14 January 2014). " 'Brand New Ancients' Stars Kate Tempest in a Tragic Tale – The New York Times". The New York Times . Retrieved 6 February 2018.Tempest’s progression is not only musical; the perspective of their lyrics has also altered. Just as they allow us in by showing themselves visually on the album artwork, they also lift the veil lyrically. Kind of. These are an unquestionably more personal collection of words, particularly when compared to Let Them Eat Chaos, yet they are also more opaque. Of course, that earlier album was a concept album, a story about other people. Covertly, it crept into the rooms, and the anxieties, of a group of neighbours in a London street at 4.18am. Inevitably, one becomes more personal when they stop talking about the lives of others. Becoming more transparent, however, isn’t quite so easy. Perhaps Tempest prefers it that way. You may also opt to downgrade to Standard Digital, a robust journalistic offering that fulfils many user’s needs. Compare Standard and Premium Digital here.

Beaumont-Thomas, Ben (6 August 2020). "Kate Tempest announces they are non-binary, changes name to Kae". The Guardian. Kae’s follow-up, The Book of Traps and Lessons, was more tender and focused on personal experience as opposed to crafting a narrative with characters. This coincided with the release of Kae’s collection of essays On Connection, a staggeringly beautiful non-fiction book which saw Kae lay out their ideas regarding person-to-person connection and how important it is to try to bond as much as possible with the world, with art and with those around us. It is an impossibly touching read, full of passion and love for all things art – or otherwise. a b c Mahoney, Elisabeth (27 March 2012). "Wasted – review". The Guardian . Retrieved 6 February 2018.Salt Coastis a highlight and one of those rare moments where the dichotomy of poetry and music cannot be prised apart, here the two forms need each other. Tempest pins their words perfectly to the beat. It’s so expertly done that by the end their words seem to have generated their own counter-melody, blending perfectly with huge electronic beats that constantly threaten to engulf everything in their wake. Find it in the ‘poetry you can dance to’ section at your local record store. In November 2019, along with other public figures, Tempest signed a letter supporting Labour Party leader Jeremy Corbyn describing him as "a beacon of hope in the struggle against emergent far-right nationalism, xenophobia and racism in much of the democratic world" and endorsed him in the 2019 UK general election. [31] In December 2019, along with 42 other leading cultural figures, they signed a letter endorsing the Labour Party under Corbyn's leadership in the 2019 general election. The letter stated that "Labour's election manifesto under Jeremy Corbyn's leadership offers a transformative plan that prioritises the needs of people and the planet over private profit and the vested interests of a few." [32] [33] Reception [ edit ] a b "Kate Tempest – 'Let Them Eat Chaos' ". mercuryprize.com. Mercury Prize. 2 August 2017 . Retrieved 6 February 2018. Alexis Petridis (27 July 2017). "2017 Mercury shortlist fails to spotlight truly exciting British music". The Guardian. Brennan, Clare (23 September 2013). "Hopelessly Devoted – review – Stage – The Guardian". The Guardian . Retrieved 6 February 2018.

Kate Tempest webchat – your questions answered on Jung, dog chat, and why poetry speaks to us all". the Guardian. 14 December 2016. ISSN 0261-3077 . Retrieved 17 February 2023. For cost savings, you can change your plan at any time online in the “Settings & Account” section. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial. It’s a statement song. It’s powerful in its musicality. I love the beat. The first and the second verses are absolutely phonetically matched. There is communication going on between the transformations in the lyric as it begins in one way, and then as it transforms in the other way, so you have this kind of call-and-response between two verses. For me as a writer, a rhymer, and a lyricist, to be doing that on a record is an embodiment of having nothing to prove. It’s like, ‘Here, look what this song is doing.’ It’s like this chorus, musicality, lyricism, flow that are all saying the same thing. There’s nothing to prove—it’s all to play for.” They were determined to succeed as a performer. But being so visible came with its own set of challenges. Suddenly they were “she” and “her” in the press; nominated in the best female category. Interviews could feel treacherous. It’s not that dysphoria ever went away, but with all eyes on them, Tempest didn’t know how to engage with it. a b c " 'Mercury nominees 2014: Kate Tempest". Guardian Music Blog. London. 22 October 2014 . Retrieved 6 February 2018.As well as shifting more towards community and away from solitude in the content and make-up of ‘The Line Is A Curve’, the album marks a new recording process for Tempest which involved doing three vocal takes in one day, to three different generations of people. “A child, someone of my generation, and a person of the generation above,” as Tempest explained. Two weeks later, I am sitting across from Tempest and Murphy once more, this time in a booth at a south London recording studio. A few days earlier, they’d texted to suggest another meeting. “I shied away from talking about myself last time we met,” they say, slowly. There’s a vulnerability to their voice. “I feel like I have to be careful. I’m a storyteller: I know the power of stories.” Through their work, of course, Tempest shares snapshots of their life. But poetry and prose allow details to be blurred; art can exist in the abstract. I was resigned to living the life I was in,” they say, “and then maybe at 50 when I stopped having this career I thought I might be able to finally transition. But increasingly I couldn’t bear it.” In January 2020, they chopped their hair short. Their eyes light up when recalling the sense of liberation. And then, the pandemic hit. For the first time in what felt like for ever, Tempest was forced to take a beat. A few months later, they came out publicly.

Murray, Robin (6 August 2020). "Kate Tempest Changes Name To Kae Tempest". Clash . Retrieved 7 August 2020. The album has moments of pure brilliance, both musically and poetically, though the two rarely happen at the same time. Tempest might profess to be rapping but her delivery here is barely distinguishable from her poetry readings. This isn’t always a bad thing although occasionally you find yourself wishing for a few extra dimensions to her timbre. The Line Is a Curve is the latest album from poet and rapper Kae Tempest, an artist who's been doing great work ever since they first came to prominence. I've constantly been a fan of their poetic writing style, something which is further developed on The Line Is a Curve.This whole album, and this process, and me coming out, is me squaring myself with the idea of what being a musician is,” they say, “and how that differs from being a playwright or an author, where you can be less visible.” Part of Tempest longs for that invisibility. “At the same time, what am I scared of? It’s my life.” Maybe, they say, openness might be healing. “The pain of what it used to be – to be interviewed or on telly, that pain is also about [gender] dysphoria,” they say. “And because I’m doing something to treat that, maybe it’s not going to hurt this time.”