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Burial Releases New ‘ANTIDAWN’ EP: Stream

Burial has released a new EP titled ANTIDAWN. Out now via Hyperdub, the project spans five tracks and 43 minutes. Stream it below.

According to press materials, “the record explores an interzone between dislocated, patchwork songwriting and eerie, open-world, game space ambience. In the resulting no man’s land, lyrics take precedence over song, lonely phrases colour the haze, a stark and fragmented structure makes time slow down.”

“Antidawn seems to tell a story of a wintertime city, and something beckoning you to follow it into the night,” the release continues. “The result is both comforting and disturbing, producing a quiet and uncanny glow against the cold. Sometimes, as it enters ‘a bad place,’ it takes your breath away. And time just stops.”

ANTIDAWN follows Burial’s 2021 track ‘Dolphinz’ as well as Shock Power of Love, his split EP with London-based producer Blackdown.

Sondre Lerche Announces New Double Album, Shares New Songs

Sondre Lerche has announced a new double album: Avatars Of Love arrives on April 1. It features guest appearances from CHAI, Felicia Douglass of Dirty Projectors, Mary Lattimore, Rodrigo Alarcon, Ana Müller, and another special guest “to be announced at a later date.” Listen to the new songs ‘Cut’ and ‘Turns Out I’m Sentimental After All’ below, and scroll down for the album’s full tracklist and cover artwork (created in collaboration with Norwegian artist Nikolai Torgersen).

“I originally wrote ‘Cut’ imagining a love affair between actors on a film set, where the lines are constantly blurred between what is real, what’s performative,” Lerche explained in a press release. “I saw it as a film noir, but during the recording it no longer felt black and white, it felt colorful and erotic and it reminded me of some of Brian DePalma’s 80s neo-noir films that I love. The music video also captures some of this.”

He continued:

‘Turns Out I’m Sentimental After All’ was the last song I wrote before leaving LA right as the pandemic started. I like the contrast between it and ‘Cut,’ which it follows on the album. ‘Cut’ tries to capture an ephemeral feeling that may not even be real, while ‘Sentimental’ can’t help but fall back into nostalgia, while second guessing a central life choice. I remember thinking of ‘Both Sides Now,’ and how Joni wrote that so young, and how she probably could add many new verses and perspectives to it later in life, if need be. And I thought about some of my own songs where I made statements that no longer correspond with the way I see the world or myself. So it’s also an ode to songs and the many truths and phases they document and contain. It’s a very special and tender song to me.

While Lerche’s last album, 2020’s Patience, took more than seven years to write and record, Avatars of Love was completed in his home country of Norway over the course of a year. “This is without a doubt the biggest, boldest, most complex thing I’ve ever done,” Lerche said. “At the same time, it was also the easiest, most natural, and most liberating. As an artist, it’s the kind of project you always dream about.”

A few weeks ago, Lerche shared a cover of Doja Cat’s ‘Kiss Me More’.

Avatars of Love Cover Artwork:

Avatars of Love Tracklist:

1. Guarantee That I’d Be Loved
2. Dead of the Night
3. Will We Ever Comprehend [feat. Rodrigo Alarcon, Ana Müller]
4. Cut
5. Turns Out I’m Sentimental After All
6. What Makes Me Tick
7. My Love Still Waits
8. Avatars of Love
9. Summer In Reverse [feat. CHAI]
10. Now She Sleeps Beside Me
11. Special Needs [feat. Felicia Douglass]
12. The Other Side of Ecstasy
13. Magnitude of Love [feat. Mary Lattimore]
14. Alone in the Night

Vein.fm Announce New Album, Release New Song ‘The Killing Womb’

Vein.fm, the Boston hardcore band formerly known as Vein, have announced their next album. This World Is Going to Ruin You is out March 4 via Closed Casket Activities. To accompany the announcement, the band have shared the lead single ‘The Killing Womb’ alongside a music video directed by Max Moore. Watch and listen below.

This World Is Going to Ruin You will follow Vein.fm’s 2018 debut Errorzone. The new record was produced by Will Putney and features guest appearances from Thursday’s Geoff Rickly, Jeromes Dream’s Jeff Smith, and BONES.

This World Is Going to Ruin You Cover Artwork:

This World Is Going to Ruin You Tracklist:

1. Welcome Home
2. The Killing Womb
3 Versus Wyoming
4 Fear in Non Fiction
5. Lights Out
6. Wherever You Are
7. Magazine Beach
8. Inside Design
9. Hellnight
10. Orgy in The Morgue
11. Wavery
12. Funeral Sound

Denzel Curry Announces New Album ‘Melt My Eyez See Your Future’

Denzel Curry has announced a new album called Melt My Eyez See Your Future with a trailer that sees the Florida-born rapper walking through a desert. The clip teases contributions from T-Pain, 6lack, Rico Nasty, JID, slowthai, Thundercat, Kenny Beats, Robert Glasper, Karriem Riggins, JPEGMAFIA, and more. A release date has not yet been revealed, but the trailer’s YouTube description reads “coming to a stereo near you.” Check it out below.

Denzel Curry’s last solo album, Zuu, came out in 2019. He followed it up with a Kenny Beats collaboration, 2020’s Unlockedand shared the track ‘The Game’ in August of last year.

Watch Turnstile’s ‘Tiny Desk (Home) Concert’ for NPR

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Turnstile have shared their ‘Tiny Desk (Home) Concert’ for NPR. Filmed in drummer Daniel Feng’s house, the 17-minute set includes stripped-down performances of tracks from the band’s latest album GLOW ON, including ‘Endless’, ‘Underwater Boi’, ‘Blackout’, ‘Don’t Play’, ‘Mystery’, ‘T.L.C. (Turnstile Love Connection’, and ‘Alien Love Call’. Watch it below.

GLOW ON, Turnstile’s third album and the follow-up to 2018’s Time & Space, landed on our Best Albums of 2021 list. The band’s TURNSTILE LOVE CONNECTION TOUR is set to kick off this spring.

Watch St. Vincent Perform ‘…At the Holiday Party’ on ‘Corden’

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St. Vincent appeared on The Late Late Show With James Corden last night to perform her Daddy’s Home track ‘…At the Holiday Party’ from behind a cocktail bar. She also sat down for an interview with Corden to talk about the musical inspirations behind the record, receiving a call from Paul McCartney about the remix she contributed to McCartney III Imagined, and her family holiday tradition of acting out Charles Dickens’ A Christmas Carol and calling it a A Clarkmas Carol. Check it out below.

St. Vincent’s Daddy’s Home arrived in May. To promote its release, Annie Clark performed tracks from the LP on SNL and The Tonight Show.

alt-j Share Video for New Song ‘Hard Drive Gold’

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alt-J have released ‘Hard Drive Gold’, the latest offering from their forthcoming album The Dream. The track arrives with an accompanying video co-directed by vocalist Joe Newman and his partner Darcy Wallace. Check it out below.

“‘Hard Drive Gold’ is a slightly tongue-in-cheek song written at what we thought was the height of the cryptocurrency gold rush,” Newman explained in a press release. “It’s the story of the ultimate childhood fantasy, the schoolboy who becomes a millionaire overnight, and the different interactions he has with people in his life from teachers to neighbors. How ironically you interpret its message is entirely up to you…”

Of the video, he added: “Growing up enjoying cinema greatly I saw our music videos as opportune moments for directors to create stories purely and so we the band did not appear in our videos. By avoiding cuts to a band playing in an ‘airplane hanger’ the audience could focus on the cinema over the indie band music video tropes,” Newman says. “I had ideas for videos that I passed on to directors to develop, watching these directors execute some of these ideas inspired me and now I want to understand and experience the process at a deeper level.”

The Dream, the follow-up to 2017’s Relaxer, comes out February 11 via Canvasback/Atlantic. It includes the previously released singles ‘U&ME’ and ‘Get Better’.

Thom Yorke and Jonny Greenwood’s the Smile Share Debut Single

The Smile, the new trio comprised of Radiohead members Thom Yorke and Jonny Greenwood and Sons of Kemet drummer Tom Skinner, have shared their debut single. It’s called ‘You Will Never Work in Television Again’, and it was produced by Nigel Godrich. Check it out below.

The Smile are set to perform three consecutive live shows at Magazine London on January 29 and January 30 to a seated audience in the round. The shows will be broadcast in real time via livestream for online ticketholders. “The performances bring together a live show, a livestream and a cinematic film, captured by award-winning director Paul Dugdale (The Rolling Stones, Adele, Paul McCartney) and produced by Driift,” a press release notes. Physical and livestream tickets will go on general sale from 9am on January 7. The performances will take place the following times:

BROADCAST #1: London – 8pm Sat. / New York – 3pm Sat. / Los Angeles – 12pm Sat. / Sydney – 7am Sun. / Tokyo – 5am Sun.

BROADCAST #2: London – 1am Sun. / New York – 8pm Sat. / Los Angeles – 5pm Sat. / Sydney – 12pm Sun. / Tokyo – 10am Sun.

BROADCAST #3: London – 11am Sun. / New York – 6am Sun. / Los Angeles – 3am Sun. / Sydney – 10pm Sun. / Tokyo – 8pm Sun.

The Smile made their first public performance on Glastonbury Festival’s Live at Worthy Farm livestream, which they followed with a surprise performance on Instagram in December. More recently, Yorke delivered a solo rendition of the track ‘Free the Knowledge’ at an event in London.

Artist Profile: Pollyanna Dee

White and blue flowers bloom in the cracks of the woman’s face in ‘Daydream’. Split in half, her left face rests upon two hands that console her while her right face detaches itself from the commotion. Her eyes glisten with melancholy that her parted lips mirror. Her emotions overflow, consuming the way she commands her life and placing her into a state of reflection, a realm Pollyanna Dee knows by heart. “Art has always been my way of expressing what and how I feel, the depth of my state of mind. I often convey emotions that I cannot put into words through art. I think that there is true beauty in embracing your vulnerable self because that is what makes you human and brave; that is what may complete you,” the artist tells Our Culture.

A graduate of Visual Communication from the University of the Philippines, the Manila-based visual artist leans on abstraction and surrealism dotted with lines and shapes, distorted figures, and varying hues. “Most of my works are drawn with charcoal, ink, and through mixed media. I recently started playing with digital art because I think that there is a wide array of possibilities that digital can do. It also allows me to elevate and experiment with the textures, compositions, and colors of my artworks to tell a story,” she says.

Emotions epitomize Dee’s art language. At times, she dabs the eyes with tears; other times, she muddles her characters’ faces to signal disruption or disharmony. Whatever sentiment clouds her creativity, she defines her works as a visual diary, a volley of images rather than texts, layered with elements of self, life, and ruminations. “Most of my works are inspired by the strength I find and exude at my most vulnerable times, a journey towards self-acceptance,” she shares.

Shonna Waters, BetterUp’s Vice President of Alliance Solutions, notes in her article about the path to self-acceptance how the lack of it hinders a person’s ability to achieve their full potential. “People with high self-acceptance are more resilient to criticism. They understand that it is okay to accept themselves while also working for continuous self-improvement,” she writes. “Self-acceptance is the act of accepting yourself and all your personality traits exactly as they are. You accept them no matter whether they are positive or negative. This includes your physical and mental attributes.”

Dee’s quest for self-acceptance through art touches on women empowerment and mental health. She carves a path for those who find themselves in the same boat as hers, a battle against anxiety and depression to see through one’s value and worth. “My artworks convey the importance of recognizing our feelings with bravery and without shame, thus also focusing on mental health. They reflect the intimate and entrenched struggles within me, showing the essence of our ability to process and let go of what harms us to fiercely show on the outside who we are, that we are strong despite our flaws. Our vulnerability is not a sign of weakness but of strength and self-love. There is nothing wrong with that,” she says.

The woman’s face in ‘Headspace’, perhaps an indication of the artist’s portrait, floats in the air along with smokes. Inquisitive eyes peek through the slit of her split head. Her hands appear in the back and foreground, reaching out for help, for connection, for a renewed life amidst the chaos. Above the canvas, a yellow moon glimmers and shadows a tiny ballet dancer tiptoeing on the woman’s nose. It gestures a climb towards rebirth that Dee affirms. “The feeling of isolation, loneliness; of slowly drowning but still fighting our individual battles; of still hanging in there while hoping for a brighter tomorrow,” she explains.

Tears spring from the fought battles in ‘Breathe’. The woman lifts her chin up as she faces to the right, her skin and hair enveloped with tears. A black smudge censors her mouth, trapping the oxygen in her lungs. “I thought of capturing that the release of emotions that, in the end, feels brave and freeing. Through the good and the bad, we are brave in our own, honest, and beautiful way,” the artist shares.

The narration peaks as ‘Rise’ enters the trilogy. The battle has eased off and a fleeting moment of rest has leapt. The woman soars on the horizon, marked with scars through the foliage, marble-like swirls, red desert, and white sun tattooed on her skin and body. Creeping out of her mouth, pink flowers blossom. As Dee tells Our Culture, she drew the piece from the quote quiet strength is still strength. “During these hard times, when everything seems uncertain, may this be a reminder for us to be kind to ourselves, to pace into each moment and know that it is okay to be vulnerable. In the quiet, slower moments, we are strong.”

Pollyanna Dee employs art as a medium of self-acceptance and embraces sentiments as they come, extending her practice to those who seek a haven of enlightenment. As smokes cloak her characters’ faces and flowers grow as an emblem of valor, the artist embodies courage against adversity, freedom from fear of emotions, and congruence with self, hoping her audience will follow suit.

Beirut Unveils Previously Unreleased Song ‘Fyodor Dormant’

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Beirut has unveiled another previously unreleased track that will appear on the upcoming album Artifacts, which traces the project’s evolution and arrives on January 28 via frontman Zach Condon’s own Pompeii Records. ‘Fyodor Dormant’ follows previous offerings ‘So Slowly’ and ‘Fisher Island Sound’, and you can listen to it below.

“I don’t know if people who hear most of my music would know immediately how much I loved synthesizers as a teenager,” Condon explained in a press release. “I saw them as a welcome escape from the then electric-guitar-dominated music of the States and the UK, before I was exposed to the broader spectrum of music outside of these narrow walls. I still sneak synths in around the corners of most albums, sometimes heavily, sometimes subtly. I now have access to some beautiful and unique analog systems, but back then, I had a barely functioning, shared-by-the-whole-house PC with a pirated copy of fruity loops, and I wanted to make music that could make me get off the wall and move a little, at least in my imagination.”

He continued: “I was an often lonely and isolated teenager and rarely if ever found friends as obsessive and similar-minded about music as myself, so starting a band always ended up seeming more or less out of the question. This was my first experience being able to arrange for all parts with ease, and starting to craft sounds from simple wave shapes into something with character was an exciting endeavour that I still enjoy. It was on songs like this one that I started adding the acoustic instruments back into the mix, using a piano that was moved into the house that I fell in love with, and my dear companion the trumpet. It was from about this time at 16 years of age and on that I slowly began to shed the training wheels of the computer program and wander deeper and deeper into the unknown sonic territory of Farfisa organs, accordions and ukuleles.”