Only Murders in the Building is an Emmy-nominated mystery-comedy series from Hulu, created by John Hoffman and Steve Martin. Martin stars alongside Selena Gomez and Martin Short, with a supporting cast including Amy Ryan and Cara Delevingne. Most of the story takes place in the titular apartment building, the Arconia, located in the heart of New York City. Naturally, this setting brings together a diverse medley of characters, including some familiar faces (Sting of The Police in season 1, and comedian Amy Schumer in season 2).
The three main characters are Martin’s Charles-Haden Savage, a former TV actor, Gomez’s Mabel Mora, a young woman with a lot of unresolved trauma, and Short’s Oliver Putnam, a struggling theatre director. When a fire alarm goes off, the Arconia’s residents evacuate the building and this unlikely trio ends up bonding over their shared love for true crime podcasts. However, when they return to the Arconia, they realize that they may be embroiled in an unsettling crime case of their own. They decide to start their own podcast, and after some squabbling, they decide to call it ‘Only Murders in the Building’. To their surprise, they end up having to cover quite a few murders, even if they are limited to those only in their building. In addition to the thrilling mysteries that unfold throughout the episodes, the central trio’s banter is one of the most captivating elements of the show. Here are some of the best quotes from the first two seasons of Only Murders in the Building.
Oliver: You are scoring a murder mystery, not DJing a hobbit’s wedding. Charles: The concertina can be very haunting. It transports. Oliver: Yeah, well, it transports me back to 1800s Ireland. I feel like I’m in the middle of the Potato Famine.
Charles: Every true crime story is actually true for someone. Oliver: And this is just occurring to you? Charles: I guess it feels personal now. Oliver: It already felt personal to me ’cause of Winnie. Charles: Who’s Winnie? Oliver: ‘Who’ – are you kidding me?! My dog, Winnie, who’s recovering from being poisoned. The fact that you forgot about her completely is deeply concerning to me.
Leonora: Why do I recognize your voice? Charles: Oh, I’m an actor. I was on that show, Brazzos. Leonora: Yeah, they have that on at my assisted living. It’s a very good show to have on in the background when you’re dying.
Oliver: Ooh, did the pregnant protege make a pernicious power play? Wow, I am on fire!
Oliver: You know, when I was a kid and I was in the bathroom too long, my grammy would knock on the door and say, ‘Oliver, would you like me to come in there and rub some Vaseline on your rectum?’
Oliver: Okay, kids, rush hour’s approaching, and the tunnel will be as packed as Orson Welles’ colon.
Marv: There’s nothing like a crisis to bring New Yorkers together.
Mabel: So that’s it? You’d rather tell a story that’s tantalizing than the story that’s the truth? Oliver: You see, we would never do that. I mean, we have, but we try not to.
Williams: Do you understand the definition of perjury? Oliver: I know what perjury is. I did a production of 12 Angry Men once. But with women. 12 Angry Women. One of the sisters from Hamilton was in it. This was years before Hamilton. I know what perjury is… I don’t.
Oliver: I am so Greek I could be Jennifer Aniston’s stand-in. I’m so Greek I could go bankrupt and no one in the world would help me.
Charles: How can we get Cinda to crumble and cave like a … crumbling cave?
Charles: You must know things that upset [Cinda], that might make her feel vulnerable. Poppy: … Human error, interruption, people who work for her but don’t look like her. Mabel: Yeah, we noticed that one. Poppy: … She does not like the inside of a tomato… Oh! Oh, this one’s weird. Charles: The tomato was normal? Poppy: She’s very afraid of slow-motion. Oliver: … So she’s a true psychopath?
Bartees Strange has shared a cover of ‘Gang Signs’, Freddie Gibbs’ 2021 track featuring ScHoolboy Q, as an Amazon exclusive. Give it a listen below.
“I covered ‘Gang Signs’ because Freddie Gibbs is one of my favorite artists and I thought this would be a cool format for the song,” Bartees said about the cover. “This song is so gorgeous in a way that only Freddie could do. He always walks this line of being pretty hardcore lyrically, really pulls no punches. I love that about him — something I really admire. We could all use a little dose of Freddie from time to time.”
Strange released his second album, Farm to Table, earlier this year.
The Casual Dots – the indie rock band featuring vocalist and guitarist Christina Billotte (Slant 6, Quixotic, Autoclave), guitarist Kathi Wilcox (Bikini Kill, Frumpies), and drummer Steve Dore (Snoozers, Deep Lust) – have announced their first new album in 18 years. Sanguine Truth is set for release on September 23 via Ixor Stix Records. Check out the new single ‘The Frequency of Fear’ below, along with the album cover and tracklist.
The new album marks the Casual Dots’ first release since their 2004 self-titled LP, which was produced by Fugazi’s Guy Picciotto, who also produced the new record. A reissue of the Dots’ debut will also come out on September 23.
Sanguine Truth Cover Artwork:
Sanguine Truth Tracklist:
1. The Frequency of Fear
2. Gypsum Mortar
3. The Setting Sunrise
4. Live for Yourself
5. 17 Year Old Locust
6. High Speed Chase
7. Descending
8. Palindrome
9. The Mourning After
10. Velvet Fields
It takes practice always to look put-together and fashionable. Luckily, we have put together a list of the top 8 fashion pointers any woman should know.
Despite their apparent lack of complexity, these hints will completely alter your approach to daily fashion. These pearls of wisdom will have you looking chic and fantastic every time you leave the house, whether you’re going to the office, a bar, or Sunday brunch.
1. Be Sure to Sort Through Your Clothes and Make Some Changes
Building a stunning wardrobe begins with a neat and tidy closet. Because you can’t put together a fashionable look if you can’t see what you’re wearing.
You can get started right away by going through your closet and getting rid of everything you don’t plan to wear or adore. The remaining objects should then be tidily sorted into their respective bins.
To properly store your belongings, hang what can be and fold what can’t. Get a shoe rack to help you picture your ensembles with the shoes you already own. After completing this, you won’t have to worry about having “nothing to wear” again, and your wardrobe will immediately feel more energizing.
2. Locate a Competent Clothier
Any inexpensive outfit may be made to look more upscale with the help of a skilled tailor. Getting your clothes tailored may seem like a waste of money initially, but the extra use you get out of your clothes after that makes up for the initial investment. Whether it’s jeans that have been hemmed or a dress that has been taken in at the waist, a well-tailored item of clothing is hard to beat. If you want to upgrade from inexpensive buttons to something more elegant, have your tailor do it. By doing so, you may make any of your coats and jackets appear more expensive than they are.
3. Strike a Balance Between Your Top and Bottom
It may look easy on the catwalk, but wearing a garment that is either very loose or tight is quite a challenge. Finding that optimal balance is the secret to an excellent appearance for most of us. It is, therefore, essential to create outfits where the top and bottom are complimenting. Mix and match loose tops with fitted bottoms, full skirts with fitted tops, and cropped tops with full skirts.
4. Consider Your Body Type When Shopping for Clothes
Shopping wisely is the key to having a closet full of fantastic clothing that always looks terrific. Putting money into styles that flatter your unique physique is crucial. Look at the outfits that make you feel and look your best if you’re at a loss as to what to buy. You should look for more clothing items with a similar silhouette if you find that your high-rise skinny jeans and empire waist dress are flattering. Then, knowing you look great, have fun playing with other fabrics, colors, and accessories.
5. Feel Free to Combine Patterns
Wearing patterns and combining different patterns is a great way to inject some personality and excitement into your wardrobe. If you’ve been hiding behind solid colors for the previous decade, this is the time to get out of your comfort zone and try out patterns like checks, stripes, florals, gingham, and more. It’s essential to wear patterns that go well together rather than competing. Select one pattern as your outfit’s centerpiece, and add a secondary pattern as an accent. You might also go with two different patterns whose color schemes work well together.
6. Choose the Right Colors for Your Skintone
Have you ever wondered why specific colors complement your skin tone while others do not? This is because of the color of your skin. Filling your closet with the hues that look best on you will help you appear your best no matter what you wear. White, black, gray, silver and blue are some of the best colors to wear if you have a cool complexion. The opposite is true for those with warm undertones, which should stock up on patterns in earthy tones like brown, yellow, gold, olive green, and red.
7. Invest in One of These Three Necessary Coats
You probably already know that a little black dress and a white T-shirt are closet staples, but are you also familiar with the essential coats you should have? Every fashionable woman has to own three jacket styles: a fitted blazer, a leather jacket, and a denim jacket. A tailored blazer will keep you looking sharp at the office and special events, while a denim jacket will take care of your casual wear. Conversely, the leather jacket is excellent for edgy ensembles, going out for drinks in the evening, or going into casino hotels to play your favorite 21 card game. These are perfect for grabbing on the go or when needed.
8. You Can’t Forget the Accessories!
To finish each ensemble, you should add the finishing touch of accessories. Whether it’s a belt or a slew of necklaces, accessories can take your outfit to the next level. Even the tiniest detail, like your jeans zipper, had to be gorgeous and harmonious with the rest of your articles. So, put some money into some nice accessories and make an effort always to wear them. For a polished look, it’s important to accessorize with chic footwear, handbags, hats, sunglasses, and jewelry.
Digital transformations provide massive alterations in all industries. Even such simple daily routines like communication, working and travelling are almost impossible without technological progress. Innovation is a force of progress and development.
Internet = life. What is the meaning of this?
With the development of the Internet our lives have changed forever. It has significantly changed the way we communicate in all spheres. Nowadays you are only one click away from making purchases or orders, contacting your family and friends from every corner of the world, reading news or enjoying your favourite online games at top online gambling sites. On the whole, the Internet is not only about information exchange, it is about new ways of communication, content and reality. People can work online, live their social life and interact on business issues. However there are lots of speculations on how life on the Internet affects social relationships and lifestyle, you can read more on this topic here. On the contrary, digitalization has seriously changed education, healthcare, business and even culture. And all these changes have obviously resulted in easing people’s lives and making it faster and convenient.
Transforming all kinds of businesses
Digitalization has influenced all types of businesses. This process suggests conversion of information to digital forms so that it can be stored and transmitted through the network and other digital equipment. And this is definitely a new concept. Thus digitalization implies transformation of business technologies that lead to better outcomes and customer experience. Also it brings novelties to business operations making them more efficient. Overall digital is already a necessity to strengthen organisational performance so the companies could adjust to markets’ and customers’ demands. Although there are concerns about lay-offs or people might lose jobs because machines substitute them in some production processes.
Gambling. What happened to them?
Gambling industry has also gained changes due to modern technologies and digitalization. Without any doubts these changes were positive and effective. Nowadays there are lots of online casinos and gambling platforms which are so popular because so many people have smartphones and other mobile devices. Having a mobile app provides players with various bonuses and incentives. Moreover, online games have improved graphics and sounds which give gamblers an exciting experience. Needless to say how fantastic VR and AR technologies are for online gaming. One of the greatest advantages of gambling sites is safety as most of them use complicated and reliable security technologies that encrypt players’ information so that personal or financial information can’t be stolen. Furthermore, technology has improved customer service, now with the help of chatbots and online support any issues of the players can be solved efficiently and quickly. So technological advancement has shown drastic changes in the gambling industry and they are going to continue.
Conclusion
The internet has turned our world upside down. We can’t imagine our everyday life without a network. Apart from making people’s lives comfortable, digitalization brings lots of benefits to businesses and industries with increased efficiency, productivity and transparency. Due to these digital processes there are no boundaries and geographical limits and people are brought together.
How did the first online entertainment come about?
The first online entertainment came about in the early 1900s when people began to use telegraphs and telephones to communicate with each other. In those days, people used Morse code to communicate over long distances, but it was slow and cumbersome.
In 1923, an American engineer named Thomas Edison created a device called an “audion.” The audion worked by using electricity to produce radio waves that could be transmitted over greater distances than any other technology at that time. This allowed for faster and more reliable communication than had ever been possible before it was invented.
When you think about it, this is pretty cool: no matter where you are in the world today, there’s always some way for you to get in touch with someone else who lives nearby or far away from you to play live baccarat casinos in Philippines. That’s what makes the internet so special—it allows us all to connect with one another around the world at any moment we choose!
Favourite games for people over 40
Games and online entertainment have become an integral part of our lives. Games are now being played by people from all age groups. People of all ages enjoy playing games on their smartphones, computers or other electronic devices.
The games industry has become extremely popular among all age groups in recent years. There are plenty of online games that can be played by both children and adults, which makes it easy for them to access the internet and play these games at any time.
There are several reasons why people prefer playing online games over other forms of entertainment such as DVDs or TV channels. The most important reason is that they do not need to go anywhere to watch their favourite programmes or movies; all they need is a computer with an internet connection and they can enjoy watching whatever they want whenever they want.
Another interesting fact about online entertainment is that it is easier for kids than adults because it involves less effort on their part; this means that younger players will get more enjoyment out of playing these games than older ones would due their lack of patience when compared with adults who tend to get bored easily when faced with lengthy quests or tasks within
Most people over 40 have no trouble playing a Philippine casino online on a computer. And the games they like to play are often the same ones that younger people enjoy. But there are some exceptions. For example, if you’re over 40, you might prefer to play games that focus on gambling or gambling-like activities. Or maybe you just want to relax with a game that’s more about interacting with other players than winning against them. Whatever your preferences, we’ve got a list of the most popular games for people over 40.
What to do if you don’t have friends?
There are a lot of factors that go into what makes us happy and content. But one of the most important is probably our social interactions. We can be happy with our lives, even if we’re alone, as long as we have good friends and family around us to help boost our moods and keep us company when we don’t feel like doing anything. The same goes for entertainment—it’s fun to watch movies or TV shows with your friends, but if you don’t have anyone to share it with, then it’ll just feel like watching an episode of something while sitting in your room by yourself.
But what if you’re too busy to spend time with others? What do you do when you don’t have anyone to hang out with? Well, there’s no need to worry! There are plenty of things you can do on your own that will make the time pass by quickly and easily. Here are some tips:
-Go for walks – This is good for your health and helps improve concentration! Make sure not to go too fast though because walking fast can cause injuries
-Try to make new friends on the internet! You can meet new people this way, and it’s really easy to do. Just use your computer or phone and go online!
-You can try going to the library, or maybe even a bookstore. There are lots of places that have free Wi-Fi, so you’ll be able to easily get on your computer or phone and look up books or movies that interest you.
-If none of these ideas work for you, I recommend just doing what most people do: watch TV! It’s a very good way to get connected with other people who like the same things as you do—and there are so many different types of TV shows out there that everyone will probably find something they like! Follow this page https://www.bbc.com/news/entertainment-arts-53637305 to learn some interesting facts.
Conclusion
The world of online entertainment has come a long way since the first computer was invented. There are so many different kinds of entertainment available today, and it’s easy to forget how much has changed since the early days of the internet.
With all these new advancements, it can be hard to keep track of what’s out there and how you can benefit from it. We want to help you navigate through this sea of options and find something that suits your needs.
In her music, Brooklyn-based composer and producer Rachika Nayar oscillates between the extremities of emotion as much as she’s capable exploring the vast, abstracted space that’s in between. Her debut album, Our Hands Against the Dusk, was a haunting meditation that showcased her ability to use the guitar in ways that could be warm, playful, ghostly and enveloping, imagining beyond the expressive potential that’s normally assigned to the instrument. Even when she pulled back the curtain on its companion EP, fragments, the effect was revealing but still otherworldly, suggesting more about the range of influences permeating it rather than any concrete identity. Today, Nayar has released her sophomore full-length, Heaven Come Crashing, which leaps all the way to the other end of the spectrum, approaching something revelatory and transcendent by merging yearning guitar, sweeping ambience, and dancefloor euphoria in a way that’s almost theatrical. Even at their most ecstatic, like the Maria BC-featuring title track, the songs bend and transform with a visceral fluidity: no amount of burning light can exist without darkness. The thrill lies not in the explosion itself, necessarily, but in sifting through the debris.
We caught up with Rachika Nayar for this edition of our Artist Spotlight interview series to talk about the role of fantasy and desire in her music, collaborating with Maria BC, the future direction of her sound, and more.
Because your music pulls from so many different sonic worlds, I’m curious how your relationship to music emerged and has evolved over the years. When you were first drawn to it, did you form different kinds of attachments depending on the genre, or did it all have a similar effect on you regardless of any stylistic distinctions?
It’s hard to synthesize because it’s such a fundamental fabric of my life ever since I was a little kid. But I do feel like ever since I was like in middle school or so, I started exploring a bunch of different genres online, because there was never really much of a physical musical community in the place where I grew up. So it was mostly through URL explorations, especially with one of my best friends at that time and my musical partner growing up, who’s still a good friend of mine. We’d get into a new genre every few months and torrent like a million albums with whatever were the most foundational releases in that style. We listened to it together and tried to learn how to make drum n’ bass break beats on Ableton, or we had a phase of being into jazz fusion and Pat Metheny and stuff in middle school when we were first learning guitar and bass. I feel like every genre opens up a different part of my emotional terrain to explore. When you have different language for it, you recontextualize your own emotional relationship to self through it.
I was thinking of it in relation to the idea of melodrama, which you’ve discussed around the new album and that’s maybe associated more with certain genres. You’ve said that you’re both attracted and hesitant around that kind of expression, partly because it involves “taking massive emotions at face value.” What made you more comfortable, or compelled, to embrace those emotions going into Heaven Come Crashing?
I feel like at some point I developed some deep suspicion of my own baseline desires or feelings, especially if that comes out in the realm of something like fantasy, which has always been a place of refuge for me and growing up. I feel like at a certain point, you come to reckon with the ways that so many of the things you feel aren’t aligned with the things that you believe and the things you think and have to learn how to negotiate that distance. And obviously, there’s so many political things that come up within desire. I think that the album, for me at least, felt in tandem with learning to approach and to see that part of me as shadow self; something to have conversations with and something to learn from, but not something to shut down or dismiss within me. It feels less like something dangerous or frightening; it feels like another self to dialogue with.
Speaking of desire and fantasy, how did you come across the Roland Barthes quote that you’ve included in the album’s Bandcamp description? Were you already thinking about these ideas, and how did you relate it to your experience and your music?
I’m not sure how I came upon that book originally, but it’s this really beautiful series of lectures by Barthes that are just a series of discontinuous fragments that never amount to a cohesive argument or whole. They’re all a bunch of suggestions that come off of different words and ideas. The general thematic thrust of the work is that he is fantasizing about a type of social being together or togetherness that marries the freedom of people’s solitary paths with these inherent forms of control that come with any kind of group or collectivity, and also marries that with just the meaning and necessity of being with other people. It’s all pretty abstracted, but it came to me at a certain point where I was grappling with a lot of my own conflicts in relation to other people and collectivity.
That’s interesting, because this idea of solitude and collectivity relates to something I wanted to bring up later on, but I hadn’t thought about it in the context of this quote.
That’s how I like it to be whenever I do give a little bit of thematic suggestion along with the album; I never really want anybody to read it in the context of what it means for me or where it came from for me, or even really the context of what it comes from in the text. Just as some kind of connotation to merge with their reading of the music and bring their own meaning to it. But I never really want to put too much interpretive structure around my music. I don’t want to ever attach it to my own life story or personhood, really. So, I’m curious what it means for you.
The thing I latched on to is this idea that fantasy is “always very brief, just a glimmer of the narrative of desire.” I kind of experienced the album as being this sweepingly euphoric experience, but that made me wonder if those euphoric moments are only a glimmer of what’s possible within the realm of desire.
Yeah, I like that a lot.
I wonder if it feels like only a glimpse for you too.
I mean, I guess that’s what music-making feels like for me, in a way – it’s some kind of decontextualized glimpse of an emotional kernel inside of me. And people see that really brightly lit fragment and bring their own whole world to that moment in their listening. And then, in the encounter between those two little glimmers, something new is metabolized. For me, my own relationship to other people’s music has changed how I relate to myself and other people and my basic ideas of what’s possible. There’s something beautiful in the contracted transience of the thing.
Still, on this album more than anything you’ve released before, you’re really magnifying that transient thing, exploding it. Was that something that conflicted with the structure that you try to enforce in your compositional process? This time around, was it more challenging to know when a piece starts and when it ends, and to figure out how all its parts connect?
This time around felt a little easier, actually, just in terms of technical side of it. I feel like a developed a certain set of methods or tools that I liked to use on the first album, and each of those songs was kind of a huge experiment or exploration when I was learning what was possible with how I can process my guitar and what can come out of it. But with this album, I feel like I had more of a sense of paths that I know I can go down, and then I brought new things in there to flesh it out. But whenever I’m writing a song, it always feels like a process of discovery and kind of fumbling around in the dark. But it came together a lot faster than the last album; most of the songs I think I finished in like five months.
What keeps you grounded when you’re experimenting with or discovering new sounds?
You know, I wonder that as well. [laughs] I’ve been feeling recently like every time I come to a song or come to songwriting, I have this feeling of like, Wait… How do I make music?What is it that I do to make music again? So often, so many of the songs are written with totally different means. But I guess the thing that’s always been grounding for me is my relationship to my instrument, with guitar, like a motor memory place that I can get lost in when I’m just playing around with loops and reverb and delay and pedals. And then using that core place that I feel grounded in as a jumping off point for the greater part of all my compositional process. But recently, I’ve been wanting to ungroup that because it’s starting to get a little stale for me again. Maybe I’ll even just stop using guitar altogether.
Tell me a bit about your collaboration with Maria BC. I know you’re friends, but what was it like to cross paths and work together in this way?
We met last year from having this really deep mutual admiration for each other’s music and a really deep emotional connection to each other’s music. We connected online at some point about it. I’d never really used lyrical vocals in my music before this point, so that was kind of a big transition for me. Like I was saying earlier, I like my music to be suggestive or connotative, I don’t really like to feel like I’m imparting a message or nailing it down into some kind of really clear, contained thematic world. And their lyricism just had this really gorgeously connotative, poetic sensibility to it, but it’s also very vivid and has this brightly lit aspect to it, like we were saying when we’re talking about fantasy. The title track that I wrote for the album just felt like it was yearning for a big sharp turn in my creative process, because it was also the first time that I used heavy percussion or drum beat component. So I kind of took a leap of faith into incorporating lyrical vocals with them.
We’ve talked a lot about how we have such a similar relationship to the music that meant the most to us growing up with a lot of different particular albums that we were listening to at the same points in our lives and a lot of similar melodic sensibilities, a lot of shared ground in our relationship to solitude or quiet and how it comes up in our musicality. I feel like they can be more of a cynic that faces reality in this really powerful, barefaced, and courageous way, and my music can have a certain naive optimism to it or starry-eyed dreaming. I feel like they kind of come from the same place, though.
Hearing those vocal tracks and Maria BC’s voice made me question how much this euphoria or fantasy stems from solitude, and that maybe a sense of connectedness is actually integral to it.
Yeah. I guess that song especially has that burning desire to break away from oneself. I do hear that too.
For you, how much do the feelings of ecstasy that you’re diving into verge on the spiritual?
Yeah, I think especially ‘Heaven Come Crashing’ and ‘A Wretched Fate’ really reach toward this certain cathartic peak sense of overflow or boiling over. This sense of complete explosive iteration is something that I have always been reaching at accessing musically, for a long time. And I guess that sense of, not necessarily erasure of self, but erasure of the bounds of yourself is a fundamental part of spiritual experience to me. It’s kind of what I feel in like a rave setting or something, the strobe lights and the fog and everything is kind of annihilated except for this immersion in sound and losing yourself. And when I’m meditating or doing yoga practice, it’s about learning to erase your sense of being some kind of bounded subject or an ego, and learning how you’re caught up in this big web of mutuality and interrelations. You’re not really a separate object. I guess that sense of explosive emotionality sometimes connects in this circuitous way to spirituality for me.
This continuous reaching is something I definitely associate with your music. I’m curious how much further you feel like you can stretch this maximalist approach that you’ve taken with this album. Now that it’s about to be released, do you feel an urge to kind of retreat from that a little bit, to reach further, or to try something completely new?
I feel like it’s definitely the former. I feel like I’ve thought about that a lot actually, with where I want to go musically, because I do feel like there’s a certain apex place that I’ve always been searching for that I feel like I’ve hit upon in a way that I feel really resonant with this album. And now I do want to reorient my direction, and I think the next album is going to be very minimalist, actually, dark and meditative and a lot more cyclical. The songs I’ve been working on for it are very different. I do feel like I swing between poles a lot, both in how I think about the world and how I create and express myself creatively.
This interview has been edited and condensed for clarity and length.
Zella Day has announced her second album, Sunday in Heaven, which will be out on October 14 via Concord Records. The follow-up to her debut Kicker was produced by Jay Joyce, with additional production by John Velasquez and Alex Casnoff and contributions from the likes of Autolux’s Carla Azar and Cage The Elephant’s Daniel Tichneor. It’s led by the new single ‘Mushroom Punch’, which Day describes as a “psychedelic trip for the heart.” Check out director Sophie Muller’s video for the track below, and scroll down for the album artwork and tracklist.
Mushroom Punch Cover Artwork:
Mushroom Punch Tracklist:
1. Am I Still Your Baby?
2. Dance For Love
3.Girls
4. Golden
5. I Don’t Know How To End
6. Radio Silence
7. Bunny
8. Real Life
9. Almost Good
10. Last Time
11. Sunday In Heaven
Miya Folick has released her new single ‘Bad Thing’, which she co-wrote with Mitski and Andrew Wells. Wells also co-produced the track alongside Gabe Wax. Check out it out via the accompanying video, directed by Ruby Caster, below.
Following previous cuts ‘Nothing to See’, ‘Ordinary’, and ‘Oh God’, ‘Bad Thing’ will appear on Folick’s upcoming EP 2007, which is out September 9 on Nettwerk. “The day I wrote this song, I woke up with a first-class, absolutely soul crushing hangover, after having slept for a couple fretful hours,” Folick explained in a statement. “I wasn’t the kind of person who could hide a hangover, so I told Mitski and Andrew what was going on. We wrote this song. It’s about being stuck in a cycle of behavior that you can’t get out of, but it’s not bleak. There’s hope in the song. I always knew that I would get out of that cycle eventually.”
Muse are back with a new album, Will of the People, out now via Warner. The Simulation Theory follow-up was previewed with the singles ‘Won’t Stand Down’, ‘Compliance’, and the title track. “Will of the People was created in Los Angeles and London and is influenced by the increasing uncertainty and instability in the world,” Matt Bellamy explained in press materials. “A pandemic, new wars in Europe, massive protests & riots, an attempted insurrection, Western democracy wavering, rising authoritarianism, wildfires and natural disasters and the destabilization of the global order all informed Will of the People. It has been a worrying and scary time for all of us as the Western empire and the natural world, which have cradled us for so long are genuinely threatened. This album is a personal navigation through those fears and preparation for what comes next.”
DJ Khaled has returned with his latest album. Following last year’s Khaled Khaled, GOD DID features guest spots from JAY-Z, Lil Wayne, Ross, John Legend, and Fridayy – all of whom appear on the title track – as well as Drake (‘No Secret’), Future and SZA (‘Beautiful’), the late Juice WRLD (‘Juice WRLD Did’), Lil Durk, 21 Savage, Jadakiss, City Girls, Latto, Roddy Ricch, Kodak Black, and more. It also includes a remix of ‘Use This Gospel’ by Dr. Dre, which boasts a verse from Eminem, as well as the previously released single ‘Staying Alive’ with Drake and Lil Baby.
Julia Jacklin has released her third album, PRE PLEASURE, via Transgressive Records. The singer-songwriter recorded the follow-up to 2019’s Crushing in Montreal with co-producer Marcus Paquin, collaborating with her Canada-based touring band, bassist Ben Whiteley and guitarist Will Kidman (of the Weather Station). It includes the advance tracks ‘Love, Try Not To Let Go’, ‘I Was Neon‘, ‘Lydia Wears A Cross’, and ‘Be Careful With Yourself’. “A lot of the time I feel like I need to do all the work before I can enjoy my life,” Jacklin said in a statement announcing the album. “Whether that’s work on songs or sex, friendships, or my relationship with my family – I think if I work on them long and hard enough, eventually I’ll get to sit around and really enjoy them. But that’s not how anything works is it. It’s all an ongoing process.” Read our review of the album.
Stella Donnelly has returned with her sophomore album, Flood, out now via Secretly Canadian. The Australian songwriter wrote the follow-up to her 2019 debut Beware of the Dogs with band members Jennifer Aslett, George Foster, Jack Gaby, and Marcel Tussie, working with co-producers Anna Laverty and Methyl Ethyl’s Jake Webb. “I had so many opportunities to write things in strange places,” said Donnelly in a statement, having lived in Bellingen, Fremantle, Williams, Guilderton, Margaret River, and Melbourne while crafting the songs. “I often had no choice about where I was. There’s no denying that not being able to access your family with border closures, it zooms in on those parts of your life you care about.” Read our review of Flood.
Brooklyn-based artist Rachika Nayar has issued her second LP, Heaven Come Crashing, via NNA Tapes. Following last year’s Our Hands Against The Dusk and its companion EP, fragments, the new album includes the Maria BC-featuring singles ‘Heaven Come Crashing’ and ‘Our Wretched Fate’ as well as ‘Nausea’ and ‘Our Wretched Fantasy’. In a statement about the record, whose influences range from ’90s trance to anime soundtracks, Nayar said: “I both love and feel so wary of melodrama, because its entire premise is to be uncritical. Taking your most massive emotions at face-value feels so fraught when they partly originate with structures you can’t control, with structures you maybe even feel at war with.”
Kaitlyn Aurelia Smith has put out a new LP, Let’s Turn It Into Sound, via Ghostly International. “The album is a puzzle,” the experimental artist said of the record, which follows her 2021 joint effort with composer Emilie Mosseri, I Could Be Your Dog / I Could Be Your Moon. “[It] is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them.” Read our review of Let’s Turn It Into Sound.
Ezra Furman has released All of Us Flames, which is billed as the third in a trilogy that includes 2018’s Transangelic Exodus and the 2019’s Twelve Nudes. Out now via ANTI-, the album produced by John Congleton and includes the early singles ‘Book of Our Names’, ‘Point Me Toward the Real’, ‘Forever in Sunset’, ‘Lilac and Black’, and ‘Poor Girl a Long Way From Heaven’. “This is a first person plural album,” Furman explained in press materials. “It’s a queer album for the stage of life when you start to understand that you are not a lone wolf, but depend on finding your family, your people, how you work as part of a larger whole. I wanted to make songs for use by threatened communities, and particularly the ones I belong to: trans people and Jews.”
JID’s new album, The Forever Story, has arrived via Dreamville/Interscope. The Atlanta rapper previewed the LP with the singles ‘Dance Now’ (featuring Kenny Mason and Foushée) and ‘Surround Sound’ (with 21 Savage and Baby Tate). The record also includes guest appearances from Lil Wayne, EARTHGANG, Lil Durk, Ari Lennox, Yasiin Bey, Ravyn Lenae, and Johnta Austin. The Forever Story marks JID’s first full-length outing since his 2018 LP DiCaprio 2.
Diamanda Galás has issued a new LP titled Broken Gargoyles. Out now via Intravenal Sound Operations, the LP marks the Greek-American artist’s first new album in four years and features two lengthy tracks, ‘Mutilatus’ and ‘Abiectio’, which were composed during the beginning of the COVID-19 pandemic. The follow-up to 2020’s De-Formation – Piano Variations contains segments from the Georg Heym poems ‘Das Fieberspital’, ‘Die Dämonen der Stadt, ‘Der Blinde’, ‘Der Hunger’, and ‘Das Fieberspital’. Four of Heym’s poems will be included as part of a 24-page booklet that comes with the Broken Gargoyles CD release, along with four paintings by Galás.
Teen Suicide, honeybee table at the butterfly feast
Sam Ray has returned with a new Teen Suicide album called honeybee table at the butterfly feast, out today via Run For Cover Records. The LP was written over a period of years while Ray struggled with a respiratory illness that made it very difficult to perform and record, eventually leading to a near-death experience. “Whether I died from the illness or was just unable to ever sing and work like I had before, I wanted to get everything done that I possibly could, and yet I became almost completely unable to function,” he explained in a press release. “This led to an at times almost hopeless depression and yet also an incredible desire to push through and work harder than I ever have. And in that conflict I found a lot of the material for the record.”
Between the Botanicals is the third album and Count Your Lucky Stars debut by Tiny Blue Ghost, the Kingston, NY outfit composed of vocalist/guitarist Marissa Carrol, guitarist Kyle McDonough, bassist Andy Vlad, keyboardist Kristoff Lalicki, and drummer Joseph Wright. The record, which blends elements of bedroom pop, shoegaze, and college rock, was self-produced by Wright and Carroll. It follows an EP from earlier this year called The Underneath.
Other albums out today:
Pianos Become the Teeth, Drift; Bret McKenzie, Songs Without Jokes; Roc Marciano & The Alchemist, The Elephant Man’s Bones; Sports Team, Gulp!; Benoit & Sergio, Lost Decade; Mark Gomes, Alphane Moods; Antonio Sánchez, Shift; Dendrons, 5-3-8; Pantha du Prince, Garden Gala; Selena, Moonchild Mixes; William Orbit, The Painter; MONO JUNK, IÄTI; Chris Forsyth, Evolution Here We Come; Animistic Beliefs, MERDEKA; Meechy Darko, Gothic Luxury; JJulius, Vol. 2; Saphileaum, Ganbana; Machine Head, ØF KINGDØM AND CRØWN; Authentically Plastic, Raw Space; Laufey, Everything I Know About Love; Eyedress, FULL TIME LOVER; Gently Tender, Take Hold Of Your Promise!; KRAMER, Music For Films Edited By Moths; RALPH WHITE, Something About Dreaming; Dienne, Addio.
Muse are back with a new album,
DJ Khaled has returned with his latest album. Following last year’s Khaled Khaled,
Julia Jacklin has released her third album, 
Stella Donnelly has returned with her sophomore album, 
Brooklyn-based artist Rachika Nayar has issued her second LP, 
Kaitlyn Aurelia Smith has put out a new LP, 
Ezra Furman has released 
JID’s new album, 
Diamanda Galás has issued a new LP titled Broken Gargoyles. Out now via Intravenal Sound Operations, the LP marks the Greek-American artist’s first new album in four years and features two lengthy tracks, ‘Mutilatus’ and ‘Abiectio’, which were composed during the beginning of the COVID-19 pandemic. The follow-up to 2020’s De-Formation – Piano Variations contains segments from the Georg Heym poems ‘Das Fieberspital’, ‘Die Dämonen der Stadt, ‘Der Blinde’, ‘Der Hunger’, and ‘Das Fieberspital’. Four of Heym’s poems will be included as part of a 24-page booklet that comes with the Broken Gargoyles CD release, along with four paintings by Galás.
Sam Ray has returned with a new Teen Suicide album called 
Between the Botanicals is the third album and 