The Japanese punk band Otoboke Beaver have shared a new single, ‘PARDON?’, taken from their forthcoming album Super Champon. The follow-up to 2019’s Itekoma Hits is out May 6 via Damnably, and ‘PARDON?’ follows early singles ‘I Am Not Maternal’, ‘Don’t Call Me Mojo’, and ‘Dirty Old Fart Is Waiting for My Reaction’. “Sometimes, the more you insist, the harder it is to understand you,” the group said of the track in a statement. “We don’t have time to understand if you don’t have time to understand.” Check it out below.
Super Champion Cover Artwork:
Super Champion Tracklist:
1. I Am Not Maternal
2. YAKITORI
3. I Won’t Dish Out Salads
4. PARDON?
5. Nabe Party With Pocket Brothers
6. Leave Me alone! No, Stay With Me!
7. I Checked Your Cellphone
8. I Put My Love To You In a Song JASRAC
9. Don’t Call Me Mojo
10. Where Did You Buy Such a Nice Watch You Are Wearing Now
11. George & Janice
12. First-class Side-guy
13. You’re No Hero Shut Up F*ck You Man-whore
14. I don’t Want To Die Alone
15. Dirty Old Fart Is Waiting For My Reaction
16. Do You Want Me To Send a DM
17. Do You Want Me To Send a DM Part 2
18. Let’s Shopping After Show
Rosalía begins MOTOMAMI with a proclamation. “Me contradigo, yo me transformo/ Soy todas las cosas, yo me transformo,” she sing-raps on ‘Saoko’: I contradict myself, I transform/ I’m everything, I transform. It’s a bold way to kick off her much-anticipated third album, not just because of how it shatters expectations musically – deconstructing 2000s reggaeton by interpolating Daddy Yankee and Wisin’s 2004 single ‘Saoco’ and then throwing in a ton of distortion and even an improvisational piano jazz breakdown – but also because of how much of a personal statement it is. The Spanish superstar’s striking, underappreciated debut album, 2017’s Los Ángeles, was a collection of re-recorded flamenco and folk songs; 2017’s Grammy-winning El Mal Querer sought to modernize the flamenco genre while adapting a 13th-century romance novel to explore toxic relationship. Right out of the gate, MOTOMAMI promises not only the continued evolution of Rosalía’s dizzying sound, but an expansive self-portrait that’s unlike anything she’s delivered before.
It’s not really her approach that changes on MOTOMAMI, but how much further she’s willing to take it – and how much more of herself she’s willing to show. It’s important to note that although El Mal Querer might be seen as the beginning of Rosalía’s effort to combine traditional and contemporary sounds and cultures, Los Ángeles, too, was impressive in its survey of a wide range of flamenco styles, not to mention the decision to end with an outstanding cover of Bonnie ‘Prince’ Billy’s classic ‘I See a Darkness’; from the earliest stages of her career, she displayed a readiness to move outside the rigid boundaries of her formal training (before graduating from the Catalonia College of Music, her albums were technically university projects). For all the acclaim that it brought her, her rise to international fame hasn’t come without controversy: flamenco purists of the Andalusian region were quick to accuse the Catalan singer of cultural appropriation, and her crossover success has raised legitimate questions about what it means for a white European woman to rise to the forefront of Latin pop.
MOTOMAMI brings forward Rosalía’s kaleidoscopic vision as well as her eclectic taste, borrowing from genres such as reggaeton and bachata as much as it does hip-hop, electro-pop, and avant-garde music. Rather than seeking to pioneer some all-encompassing musical aesthetic, it feels like Rosalía uses the album’s hybridized palette to broaden her avenues for artistic expression, and instead of sounding like a complete mess, it ends up offering a more intimate and nuanced view of her idiosyncratic personality. Part of this comes in the way she honours her influences, which feels sincere even when her playful confidence compels her to sneak in a few surprises: The most obvious example is ‘Delirio de Grandeza’, which pays homage to Cuban singer Justo Betancourt while incorporating a rap sample from the Vistoso Bosses’ 2009 track ‘Delirious’. More than a genre-bending artist with a penchant for futurism, MOTOMAMI foregrounds Rosalia’s gifts as a producer and arranger, working with the likes of Michael Uzowuru, Pharrell, Tainy, Sky Rompiendo, and El Guincho to create a cohesive experience that’s also refreshing and thrilling at every turn.
MOTOMAMI‘s structure points to its focus on duality, with MOTO implying strength and aggresion and MAMI bringing to mind vulnerability and nature; both are connected to femininity. This contrasting energy is evident in the album’s musical references: on the thumping ‘Chicken Teriyaki’, she namechecks Julio Iglesias, Naomi Campbell, and Mike Dean, while on ‘Bulerías’, over a familiar flamenco instrumental, she declares, “God bless Pastori and Mercé, Lil’ Kim, Tego and M.I.A.” Some of the contradictions tied up with the album aren’t exactly intentional, like the fact that the song that became an early hit, the Weeknd-featuring ‘La Fama’, is one of the few tracks where she addresses the downsides of fame.
The way Rosalía achieves a sense of freedom that feels natural is not through pure versatility, but earnestness. Just like the power of her voice has less to do with sheer talent than the way she wields it, the complexity of her work is not about its many layers but how she unfolds them, which is with pathos, control, and subtlety. Although its two-sided presentation makes sense, the album is really about working outside any binaries rather than reinforcing them. You don’t need to compare songs to feel those different facets coming together: ‘La Combi Versace’, featuring Dominican star Tokischa, is at once minimalist and invigorating, while the magic of ‘Bulerías’ stems from the way it experiments with a traditional format through percussion and vocal processing. ‘Hentai’ really forces you to look beneath the surface, pairing delicate balladry with raunchy lyrics before firing away a barrage of beats, perhaps so that the frenetic energy of ‘Bizcochito’ comes as less of a shock. Which, of course, it kind of does. Whatever path Rosalía chooses to take, it’s this restlessness that clearly lights the way.
Director David Fincher is well known for his impactful psychological thrillers, which make up a significant portion of his film credits, though he’s also helmed a number of biopics and book adaptations. However, even when his work isn’t centered on crime or mystery, it’s still defined by a certain gritty quality. Something viewers can be sure of when beginning a David Fincher film is that the story they’re entering will haunt them after the end credits roll, perhaps challenging or altering their beliefs. Here are thirteen suspenseful films – including a few directed by Fincher – that are sure to leave audiences unsettled.
Training Day (2001)
In Antoine Fuqua’s Training Day, Jake (Ethan Hawke) is an ambitious and idealistic officer who joins experienced narcotics detective Alonzo (Denzel Washington in an Academy Award-winning performance) for a day of training and evaluation. As the day continues, Jake begins to see that Alonzo’s methods are not always ethical. The thrilling crime movie has viewers on the edge of their seats as it becomes clear that Jake is being led into a trap. Training Day is an exploration of brutality and corruption within the police force that has withstood the test of time – if anything, it’s become a film that needs more explosion now than ever before.
Se7en (1995)
Like Training Day, Se7en begins with a rookie cop joining an older, more experienced officer; like Jake and Alonzo, Brad Pitt’s David Mills often butts heads with Morgan Freeman’s Detective William Somerset. The two have different views on how the case should be conducted, but eventually, the scale of the crime outstrips them and they must work together to stop a vicious serial killer from completing his series of murders. The killer, known only as John Doe, is on a mission to punish the citizens of his city for the seven deadly sins. Each murder is grizzly, gruesome, and leaves an impact on both the characters and the audience. In addition to the mystery and tension, Se7en offers food for thought on how civilization impacts human nature on an individual level as well as on a global scale.
Zodiac (2007)
Another Fincher film, Zodiac is based on the true story of the Zodiac Killer, who was at large in the 60s. As one of the most unsolved serial killer cases in American history, it has been the subject of much public speculation and provided ample material for pop culture. Zodiac is told mostly from the perspective of cartoonist Robert Graysmith (Jake Gyllenhaal), who believes his natural problem-solving skills can lead him to the killer. He teams up with detectives and journalists (Mark Ruffalo, Robert Downey Jr.) for a terrifying investigation that leaves the characters unsettled and forever changed.
The Silence of the Lambs (1991)
Though The Silence of the Lambs was released earlier than any of Fincher’s work, it’s a must-see for fans of his movies – and fans of the thriller genre in general. The Academy Award-winning film is a staple of the genre, masterfully building suspense and tension. Based on the eponymous novel by Thomas Harris, the film uses the source material and its skilled actors to great effect. FBI agent Clarice Starling (Jodie Foster) asks Hannibal Lecter (Anthony Hopkins), a convicted serial killer and psychopath, for insider knowledge on another serial killer case. As she digs deeper into the investigation, her childhood trauma gradually creeps up on her, and Lecter begins to get under her skin.
Nightcrawler (2014)
Nightcrawler is a chilling thriller starring Jake Gyllenhaal as Louis Bloom, a petty thief who realises he can make money by capturing footage of crime scenes for news outlets. As Lou descends deeper into the competitive circle of news videography, he resorts to extreme methods to get a shot that will guarantee a purchase. He establishes his own business and hires assistants to ensure that each grisly crime scene gets the best coverage. Written and directed by Dan Gilroy, Nightcrawler is well-paced but manages to gradually increase the suspense along with the stakes.
Gone Girl (2014)
Adapted from the novel by Gillian Flynn, David Fincher’s Gone Girl is a meticulous study on the seemingly perfect marriage of Amy (Rosamund Pike) and Nick (Ben Affleck). As the plot unravels, told partly through Amy’s diary entries, viewers begin to see the cracks in the relationship that lead to Amy’s disappearance on their fifth wedding anniversary. Nick adamantly defends himself to the authorities but bungles almost every public appearance. Like the public, the film’s audience is sure to be divided over who is to blame for the marriage’s dissolution and Amy’s disappearance. Over the course of the film, the mysteries multiply, revealing darker sides to the characters.
Fight Club (1999)
Fight Club is another Fincher-directed film, based on the eponymous novel by Chuck Palahniuk. This unsettling thriller has a lot to say about capitalism, masculinity, and various forms of addiction. Starring Edward Norton, Brad Pitt, and Helena Bonham Carter, Fight Club is a satirical story of an underground fight club for men who have no other way to exert their frustrations with their otherwise bland and unfulfilling lifestyles. However, there’s something sinister about the fight club, which turns into something much greater as it expands around the world. Similarly, the main character is not who he appears to be, and even he can’t be sure of who that is.
Prisoners (2013)
Denis Villeneuve’s Prisoners is a masterclass in building tension and suspense. This crime movie follows the journeys of three men: a father whose daughter – and her friend – has been abducted, the detective working the case, and a potential suspect the father has taken captive. The father (Hugh Jackman) begins to lose his patience with the detective (Jake Gyllenhaal) when the investigation yields no leads. Taking things into his own hands, the father’s increasing desperation leads him to take his emotions out on the captive suspect (Paul Dano), whose guilt is questionable at best. The characters are taken on a lifechanging journey that leads them to question their most fundamental beliefs that make them who they are.
Mulholland Drive (2001)
Like Fincher’s films, David Lynch’s Mulholland Drive invites the viewer to decipher the story’s message. At the surface level, this neo-noir mystery follows the relationship of two young women in Los Angeles. Betty (Naomi Watts) is an aspiring actress with big dreams who meets Rita (Laura Harring), an amnesiac who has suffered an accident she can’t remember. In between auditions for movies, Betty tries to help Rita rediscover her identity. Both the film industry and the quest to help Rita lead Betty to strange situations where she apparently begins to recall forgotten elements of her own past. A series of seemingly unrelated vignettes serve as clues to viewers.
Memento (2000)
Another film interested in uncovering the truth, Christopher Nolan’s Memento also features an amnesiac trying to resolve his past. Leonard Shelby (Guy Pearce) is an insurance investigator whose last memory is of his wife getting killed before him. Now, he uses tattoos to remind himself where he is in his investigation to find the killer and avenge his wife. The story skips between timelines, placing the viewer in a similar state of mind to Shelby, who is perpetually confused and trying to catch his mind up to the present. As the stakes increase, Shelby finds himself in more danger and realises that he may be misinterpreting the few memories he has of his previous life.
Shutter Island (2008)
Martin Scorsese’s Shutter Island is another mystery film whose central character is an unreliable narrator thanks to his altered memories. Teddy Daniels (Leonardo DiCaprio) is a U.S. marshal sent to investigate the disappearance of a patient from a remote, top security mental hospital. Accompanied by his colleague Chuck (Mark Ruffalo), Teddy explores the island and begins to question the way the facility is run. The same eerie feeling that infuses Fincher’s films crawls under viewers’ skins in Shutter Island, especially when more of Teddy’s past is revealed.
Sicario (2015)
Emily Blunt leads the cast of this FBI drug-bust film. Alternately quiet and action-packed, Sicario balances big, epic moments with subtler, disturbing scenes that invite the audience to ruminate on what’s really at stake. Upheld by a brilliant score (Jóhann Jóhannsson) and stunning cinematography (Roger Deakins), this is another excellent thriller from Denis Villenueve. Fincher fans will appreciate its sweeping, epic feel, the deeply unsettling plot, as well as the focus on the main characters, FBI agents Kate (Blunt) and Reggie (Daniel Kaluuya), who are conflicted when their seniors bring an assassin (Benicio del Toro) on board.
Black Swan (2010)
A thriller of a different nature, Darren Aronofsky’s Black Swan follows Nina (Natalie Portman), an ambitious ballet dancer who has been cast as the White Swan. However, her artistic director doesn’t believe she has the right personality to portray the White Swan’s downfall and believes that another dancer (Mila Kunis) would better suit the role. This drives Nina on an obsessive quest to become better. Over time, she loses herself in the world of the dance, but the psychological thriller subverts expectations when least expected.
Mary Lattimore and guitarist Paul Sukeena have announced a new collaborative LP called West Kensington. It’s scheduled for release on May 20 via Three Lobed, and it includes the new single ‘Altar of Tammy’. Listen to it below.
Last year, Lattimore released Collected Pieces II, her second volume of unreleased rarities. The Los Angeles-based harpist’s last solo album, Silver Ladders, came out in 2020.
West Kensington Cover Artwork:
West Kensington Tracklist:
1. Hundred Dollar Hoagie
2. Flaming Cherries Jubilee at Antoine’s
3. Altar of Tammy
4. Didn’t See The Comet
5. This Time Juliane Landed Softly
6. Garage Wine
Lollapalooza has announced the lineup for its 2022 edition. The festival will return to Chicago’s Grant Park on July 28-31, with headlining sets from Metallica, Dua Lipa, J. Cole, Green Day, Doja Cat, Machine Gun Kelly, Lil Baby, and Kygo. The lineup also includes Charli XCX, IDLES, Glass Animals, Jazmine Sullivan, Turnstile, Wet Leg, MUNA, King Princess, 100 gecs, Denzel Curry, Rolling Blackouts Coastal Fever, Manchester Orchestra, Caroline Polachek, Dashboard Confessional, Remi Wolf, PinkPantheress, Tinashe, Maxo Kream, Horsegirl, Meet Me @ the Altar, and many more. Tickets are available here. Check out the poster below.
Son Lux and Moses Sumney have collaborated on the new song ‘Fence’, which is lifted from Son Lux’s soundtrack to the new A24 movie Everything Everywhere All at Once. Listen below.
Everything Everywhere All at Once (Original Motion Picture Soundtrack) will be released on April 8 via A24 Music. The 49-track LP includes the previously shared David Byrne and Mitski duet ‘This Is a Life’ as well as collaborations with Randy Newman, André 3000, and others.
Lala Lala has released a new single called ‘Memory’. Co-produced by Andrew Broder, the track arrives ahead of Lillie West’s US tour in support of her latest album, I Want the Door to Open. Give it a listen below.
“‘Memory’ is about ‘euphoric recall’ and letting go of fantasy,” West explained in a statement. “Is it magic or a meaningful coincidence or are you just obsessed?”
Bright Eyes have shared a cover of Elliott Smith’s ‘St. Ides Heaven’, taken from Smith’s self-titled 1995 album. The rework features vocals from Conor Oberst’s Better Oblivion Community Center bandmate Phoebe Bridgers. Take a listen below.
Hatchie wrote ‘Lights On’ with the album’s producer, Jorge Elbrecht, during a session in LA in 2020. She explained in a press release:
It started with a drum beat inspired by Siouxsie and the Banshees’ ‘Kiss Them For Me’, which we had been chatting about the night before when we met up to discuss references for the record. The song is about a tumultuous, secret relationship that is coming to a crossroads. Feeling completely and utterly spellbound by one another, but realising it might not work out despite the fact that no one else has ever made you feel as good as they do. I feel the biggest emotional attachment to this song because it was like a lightbulb moment after feeling unsure of my writing abilities and what direction I wanted to take the album in. I avoided co-writing with anyone other than Joe (Agius) for years because I didn’t think I would thrive in that setting but the two days we worked with Jorge completely changed my mind.
black midi have today released their Calacovers EP, which features their take on songs by Taylor Swift, King Crimson, and Captain Beefheart. The tracks were previously available on bonus flexi-discs for fans who pre-ordered the band’s 2021 album Cavalcade. Take a listen below.
black midi’s rendition of King Crimson’s ’21st Century Schizoid Man’ marks the first time all three members of the group – bassistCameron Picton, guitaristGeordie Greep, and drummerMorgan Simpson – are featured on vocals. Their cover of Captain Beefheart’s ‘Moonlight On Vermont’ also sees Simpson taking on lead vocals for the first time on a black midi release. Picton sings on their version of Swift’s ‘Love Story’; a press release notes that black midi are “longtime fans of Swift’s work.”
