Basic Space is another eye-pleasing, visually observing series by the Polish photographer Paweł Franik. In this splendid series, Franik showcases locations in places such as Alesund, Norway, Fuerteventura, Spain, and Death Valley, CA, USA.
Find more work by Paweł Franik here.
Okja is a 2017 film from acclaimed Korean director Bong Joon-ho, starring Seo-Hyeon Ahn, Tilda Swinton, Paul Dano, Jake Gyllenhaal, Lily Collins, and Steven Yeun. The Netflix original received critical acclaim for its poignant portrayal of friendship between Mija, a young girl, and Okja, a large (fictional) animal the Mirando Corporation wants to take for themselves. Mija embarks on a rescue mission to save her friend from the greedy conglomerate before Okja is exploited and slaughtered like so many others of her kind.
The South Korean mountains are a beautiful, idyllic setting for Mija’s peaceful childhood, contrasted starkly against the bland brutality of New York, where Lucy Mirando and Dr. Johnny Wilcox have taken and mistreated Okja. Mija receives help from the Animal Liberation Front and soon realizes the issue reaches far wider than her and her “super-pig”.
Here are eleven poignant stills from Okja.
Netflix has unveiled first look images from David Fincher’s upcoming film Mank, a biopic of Citizen Kane co-writer Herman Mankiewicz starring Gary Oldman, Amanda Seyfried, and Lily Collins. The initial preview photos were released this Saturday (September 6) to coincide with the 79th anniversary of the wide theatrical release of Citizen Kane, also known as ‘Citizen Kane Day’.
Marking Fincher’s first feature since 2014’s Gone Girl, Mank is the filmmaker’s first movie presented in black and white. The film has long been a passion project for Fincher, as the screenplay was written by his father, Jack Fincher, before he passed away in 2003. It finds the filmmaker reuniting with composers Trent Reznor and Atticus Ross, who their first Oscar for their work on 2010’s The Social Network.
Check out Netflix’s first look images below.
Lil Wayne has shared a new track called ‘Big Worm’. It’s accompanied by video co-directed by Ray Kay, which sees the rapper turn back time using face morphing technology, going through all the different looks he’s sported since hitting the scene with The Hot Boys back in 1997. Check it out below.
‘Big Worm’ is taken from the deluxe edition of Wayne’s Funeral, which also includes additional tracks featuring the likes of Doja Cat, Tory Lanez, Lil Uzi Vert, and others. The original version of the album came out in January. More recently, Wayne made an appearance on Big Sean’s new album Detroit 2 and teamed up with A$AP Ferg for ‘No Ceilings’.
“It feels so good to be alone,” Kelly Lee Owens croons over nocturnal synths on ‘Night’. It’s a transcendent moment that crystallises what the electronic producer’s latest album is largely about: finding solace in solitude. Her dreamy voice seems to float above the ether, dancing around the minimalist techno beat untethered and free, as if to emulate the strange mental spaces that are illuminated when the lights are low. Owens’ vocals slowly rise into the front of the mix, growing in volume as the song reaches its euphoric yet still restrained climax. In an unexpected turn, she then addresses another person that may or may not be in the same room, adding the line “with you.” But in the context of the record, the song feels less like a romantic gesture than an invitation for the listener to participate in this journey of self-discovery, to share in the pleasures that come with opening up your inner world.
Inner Song, Kelly Lee Owens’ sophomore album following her 2017 self-titled debut, reveals the artist’s growth in both the creative and personal realm. Combining her penchant for evocative songwriting with her knack for crafting intricately textured electronic grooves, Owens weaves her compositions around a tighter thematic thread this time around, one that’s focused on finding strength in one’s self rather than succumbing to outer forces. “Felt the power in me/ Things are different in me,” she sings on the spaced-out ‘Re-Wild’. On the emotional highlight ‘On’, Owens delivers one of her most direct compositions, slipping into the kind of dream pop-adjacent territory that she often veered towards on her debut: “So/ This is how it must go/ And now I am moving on.” Despite some of the more somber tones that coat the instrumental, her soft delivery makes the proclamation sound delightfully uncomplicated.
Throughout the album, Owens’ steady, cyclical compositions seem to function as a way of carving out that path forward. She might be utilizing her vocals a fair bit more here, but she continues to prove her adeptness at building those rich emotional worlds through just her instrumentals. The most notable example here is the unexpected, fully instrumental cover of Radiohead’s ‘Weird Fishes/ Arpeggi’ that opens the record, which manages to encapsulate Thom Yorke’s metaphysical musings by allowing those arpeggiated synths to undulate through an otherworldly flow without ever losing their warmth. It does an excellent job of evoking the quality of being submerged underwater (“In the deepest ocean/ The bottom of the sea,” Yorke sings on the original), sinking further and further into some form of blissful abyss.
It’s only natural, then, that the album ventures into some icier territory the deeper we get, which makes parts of Inner Song somewhat less accessible. From the cold and distant pulse of ‘Melt!’ to the repetitive club grooves of ‘Jeanette’, these moments might alienate the average listener, but provide an interesting counterpoint to the more cordial and emotionally resonant songs like ‘Re-Wild’ and ‘L.I.N.E.’, perhaps the hookiest and most melodic of all the tracks here, in which Owens offers one of her most heartfelt choruses: “Love is not enough to stay/ I’d rather be on my own.”
But the most compelling cut on Inner Song is also the one that seems to be its biggest thematic outlier: ‘Corner of My Sky’, a collaboration with John Cale that’s both transfixing and masterfully constructed, finds the two artists meditating, in their own separate ways, on their relationship with their homeland. And yet, as disconnected as it may initially come off, it leaps right into the kind of mental state that the whole album seems intent on reproducing: of immersing yourself completely into something or someone instead of getting sucked into the temporal nature of everyday life. When Owens chants “wake up, wake up” on the closing track, it becomes evidently clear that this dream-like excursion that the album has taken us on is nearing its end. How fortunate, then, that we can plunge back in at any time.
Green Day’s Billie Joe Armstrong has shared a cover of Wreckless Eric’s ‘Whole Wide World’. The cover is part of the Amazon Original cover series, which also recently saw Moses Sumney covering Ariana Grande and Perfume Genius offering his take on Mazzy Star. Check out Armstrong’s take on the 1977 single below.
Wreckless Eric responded to Armstrong’s cover, saying: “I love this! The most punk rock version ever!”
The Green Day frontman has shared a series of covers during the pandemic as part of his ongoing ‘No Fun Mondays’ series, including his own rendition of John Lennon’s ‘Gimme Some Truth’ and Kim Wilde’s ‘Kids in America’.
HAIM have dropped a new batch of remixes titled The Summer Girl Remixes Volume 1. The record includes five reworkings of their single ‘Summer Girl’, from their most recent album Women In Music Pt. III. Lauren Auder, mmph, Amber Mark, Solomonophonic, and Jack And Henry all contributed their own versions of the track. Listen to the project and check out the tracklist below.
Though the pandemic prevented the band from touring in support of the album, HAIM celebrated its release with show livestreamed from a Los Angeles deli Canter’s. More recently, it was revealed that Alana Haim will star in Paul Thomas Anderson’s upcoming coming-of-age film along with Philip Seymour Hoffman’s son, Cooper.
The Summer Girl Remixes Volume 1 Tracklist:
1. Summer Girl (Lauren Auder & mmph Remix)
2. Summer Girl (Amber Mark Remix)
3. Summer Girl (Solomonophonic Bouncey House Remix)
4. Summer Girl (Jack And Henry’s Yellow Smiley Remix)
5. Summer Girl (Solomonophonic Slooey Gooey Remix)
6. Summer Girl (Video Version)
Arca has unveiled a new track titled ‘Mallorca’, taken from her newly released mixtape, MUTANTS VOL. 2: RIOT. It’s the latest in the producer’s Mutants Mixtape series, which compiles tracks by producers who are members of the Mutants1000000 Discord community. All proceeds from the collaborative project will be “donated to over 50 POC, queer, and sex worker related charities via ActBlue.” Listen to the entirety of the compilation below.
Earlier this year, Arca released her latest album, KiCk I, which featured collaborations with the likes of Björk, Rosalía, and SOPHIE. Back in February, she issued the 62-minute mixtape @@@@@.
Julia Stone has unveiled a new song called ‘Unreal’. Produced by St. Vincent, it’s the latest preview from the two artist’s upcoming collaborative project following the previously released ‘Break’. It arrives with an accompanying music video directed by Bonnie Moir and starring Stone alongside Once Upon a Time in Hollywood actor Damon Herriman. Check it out below.
According to Stone, ‘Unreal’ was written for her close collaborator, Thomas Bartlett, who also features on the new album. “When I’m with Thomas, I feel like myself,” she said in a statement. “I don’t have to hide any part of who I am because I’m all loved by him. The song, like songs often do as they come to life, transformed, and became both about feeling real and authentic with someone and the opposite of that – the feeling when you’re around certain people and it’s hard to be yourself for whatever reason.”
Julia Stone’s last studio album was 2017’s Snow. St. Vincent recently linked up with X Japan’ Yoshiki for a new version of her song ‘New York’.
In the tradition of a long line of innovative pop songwriters before her, Holly Humberstone’s music transcends genre barriers. The 20-year-old British singer-songwriter melds together a wide range of influences from the worlds of pop and indie to create an earnest, deeply evocative sound that captivates with its sheer emotional resonance. Having worked in the studio with producer Rob Milton, she released her debut EP, Falling Asleep At the Wheel, in the middle of August, to widespread critical acclaim. Opener ‘Deep End’ recalls the heart-wrenching indie folk of Phoebe Bridgers – whose latest album Humberstone says “literally saved me” – as she wrestles with the weight of her sister’s depression: “Once in a blue moon/ You may come undone/ We’re made up of the same blood,” she sings, her voice as ethereal as it is chillingly intimate. The song flows seamlessly into the title track, whose heart beats to the same piano-led rhythm as Lorde’s ‘Green Light’, while the driving ‘Overkill’ pulses with more of a woozy indie rock flair. Whether pulling from electronic influences like James Blake and Bon Iver on the stunning closer ‘Livewire’ or utilising more conventional ballad structures like on the piercing ‘Drop Dead’, Humberstone always infuses her songs with a distinct sense of her own musical identity. “And I could go on and on and on and on and on/ But the truth is, I have my best nights without you,” she proclaims on ‘Vanilla’.
We caught up with Holly Humberstone for this edition of our Artist Spotlight series, where we showcase up-and-coming artists and give them a chance to talk about their music.
I think one of my earliest musical memories is listening to my mum play the cello. She used to be really good when she was younger and still loves it. You could hear it all through the house.
I look up to artists who have made lots of music but still sound completely original. Artists like Damien Rice and Bon Iver, who you instantly know who it is when it comes on. I love really truthful music with personal lyrics.
The process of writing the EP was a pretty long one. As it’s my first release, it took me lots of writing to really find my sound and my musical identity, as starting out I didn’t really know what type of stuff I wanted to create. I remember writing ‘Falling Asleep At The Wheel’ as one of the first from the EP and instantly realising who I was within the music I was making and the direction I wanted to head in with it all.
‘Overkill’ was literally the funnest day I’ve had in a long time. I was going through something really exciting and just wanted to write about all the weird feelings that come with falling for someone for the first time. The first line ‘a couple more tequilas’ came really fast and the guys and I were just screaming it because we knew we were onto something so cool.
‘Drop Dead’ was pretty hard to create. The writing came pretty quickly but getting the sonics of the track right took a little longer. We wanted it to be really atmospheric and dark, and the original demo sounded the complete opposite so it took a lot of work to get that right.
So cool! I still feel like I’m starting out so to be given an opportunity like that was just mental to me. Due to Covid we weren’t able to go over and perform properly live, however it meant we could get creative with it and fit it into the same lane as all of the EP videos. I was at home in my garden, and we used my dad’s car and my parents’ piano so it was actually really fun to shoot!
For the ‘Drop Dead’ video, I was trying to think of all the things that made me feel really awful. I have failed my driving test quite a few times and the thought of taking it again is horrible to me, so we thought it would be cool to cover my dad’s car in Learner plates and burn it down as a bit of a protest. Also I got to scoot around all day in a go kart which was really cool.
For ages I’ve just been waiting to get back in the studio with my mates and make some music. I’ve really missed it during lockdown and have been pretty uninspired so it’s sick that that’ll all be starting up again soon and I can make more music again. Also I have some headline shows coming up early next year which is going to be so crazy as I’ve only ever been a support act. It’ll feel really cool to meet people and have people there who have come to support me!
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