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Disclosure Release Video for New Song Featuring slowthai and Aminé

Disclosure have shared a new single from their upcoming LP ENERGY, their first new album in five years. Titled ‘My High’, the track features slowthai and Aminé and comes with a visual directed by French filmmaker and Danny Brown collaborator Simon Cahn. Check it out below.

“We always wanted to work with rappers, we just didn’t know any and we had no means of contacting them… There aren’t a lot of rappers in Reigate,” the Lawrence brothers said in a press release. “Writing ‘My High’ with Aminé was a lot a fun, he’s hilarious and may as well be a comedian. He writes so quickly and it’s amazing to watch. He brought so much energy to this already very energetic tune that when we got home to London in January, there was only one guy capable of matching it… slowthai.”

The follow-up to Disclosure’s 2015 sophomore album Caracal is set for release on August 28 via Capitol Records and will feature contributions from Common, Kelis, Mick Jenkins, and Syd of The Internet. Earlier this year, the electronic group put out an EP called Ecstasy and released the title track for the new album.

Listen to Elliott Smith’s ‘Some Song’, From New Archival Live Album

Kill Rock Stars has shared a previously unreleased recording of Elliott Smith’s ‘Some Song’, taken from a new archival live album called Live at Umbra Penumbra. Listen to it below.

Produced and engineered by Larry Crane, the official archivist for the Smith family, the live album will be a part of Kill Rock Stars’ 25th anniversary reissue of the songwriter’s classic 1995 self-titled sophomore album, due out on August 28. ‘Some Song’ was originally released as the B-side to ‘Needle in the Hay’ in 1995, so this version, recorded in Portland on September 17th, 1994, predates the original release. A 1997 live version was later unveiled on 2017’s Either/Or: Expanded Edition. Last year, an ‘alternative version’ of the track appeared on the deluxe edition of XO.

The new version comes with a lyric video featuring a previously unseen photograph of Smith, shot by close friend JJ Gonson. “In this shot, the hot cup from Coffee People and the wet streets tell a story; I love the way the diffuse light hits his shoulders, the top of his hands, and his hair, emphasizing the bright colors,” Gonson said in an interview with Rolling Stone. “This is a photo that satisfies me artistically, still there is no way I’m not going to notice that I am fully focused on a subject to whom I am emotionally tied. So, at the end of the day, I am happy to see him. I miss him, and I hope that I am going to help people to see the goofy, puppy-like Elliott that I remember.”

Jordan Groggs, Injury Reserve Rapper, Dead at 32

Jordan Groggs, aka Stepa J. Groggs of the hip-hop trio Injury Reserve, has passed away at the age of 32. No cause of death has been revealed at this time.

The group confirmed the news on social media, writing: “REST IN POWER Jordan Alexander Groggs a loving father, life partner and friend.” They also posted a link to a GoFundMe for Groggs’ family, which continues: “Groggs’s heart has touched everyone he has came across. He will live on through his family, supporters, and the communities he was apart of. Jordan Alexander Groggs is survived by Anna and their four children Joey, Jayden, Toph, and Ari. Please keep them in your thoughts. All funds will go towards family support and services.”

Groggs and Injury Reserve’s Nathaniel Ritchie (Ritchie With a T) started collaborating shortly after they met at a Vans store, where Groggs was working, and which was owned by Ritchie’s mother. They were eventually joined by a young producer named Parker Corey, who helped push their sound forward. Their first mixtape was 2015’s Live from the Dentist Office, which was followed a year later with Floss, earning them the title of “the most unpretentious hip-hop you ever heard.” They released their critically acclaimed self-titled debut in 2019, via Loma Vista, further showcasing the trio’s inventive approach to hip-hop. Earlier this year, they released the tracks ‘Hoodwinked’ and ‘Waste Management’.

You can contribute to the GoFundMe page for Groggs’ family here.

Interview: Nikolaus Gruenwald

Nikolaus Gruenwald, a brilliant photographer out of Stuttgart, Germany, joined us for an interview to discuss photography, his early career and his current projects.

Hi, how are you?

For someone who loves to travel, 2020 has been a bit weird so far. But besides the new realities that we all face nowadays due to the COVID-19 related restrictions I’m doing fine, thanks.

Great to hear. So, you started with a legal career and made a switch to become a photographer, how did it all come about, and what made you do the switch?

If I had been more honest to myself as a law student, I could have figured out back then already that reading complicated texts and spending plenty of time with arguing people was not really my thing. I have loved taking landscape photos already back then, but I lacked the necessary spirit to cancel my law studies and pursue a different career, so I finished my bar exam before dealing with reality. At this point, I really understood for the first time what kind of consequences the selection of the wrong job would have for my future, so I decided to give my passion photography a try and see where it would take me. I will forever be grateful for all the support of friends and family in this time, and somehow I managed to make it through the critical first two years. Back in these days, I, of course, had to learn plenty of things and was fortunate enough to pick up at least some of them. So Ive got myself into a position to consequently improve my work, and have tried to do so since then.

Your most iconic pieces would arguably be your landscape and architectural ones, what inspired you to focus on these at the start of the career and then shift to a broader range of photography?

As I used to be a pretty shy personality back in my Twenties, I found landscape and architecture very appealing as they would not require any kind of communication. Also, I love hiking, both in nature and cityscapes, as you will get to see the most of your surrounding when moving slowly through the scenery. Photographing people was a weird notion for me at the beginning. I certainly didn’t want to annoy anybody by forcing them to pose in front of my camera. This changed when all my friends started to get married and asked if I was willing to shoot their wedding. So I would get my free head start into people photography, and they would get their wedding pics as a gift. From that point on, I have started to teach myself how to use flashlights and create images in the studio or on location, and this kind of photography is a big part of my job today.

the emptiness within by Nikolaus Gruenwald

What advice would you give to a person that wants to become a photographer but is worried that they might fail or simply does not know where to start?

It has probably never been as easy or and as hard at the same time to become a pro-level photographer. There are thousands of free tutorials on YouTube alone on every subject that will be important for photography. You will get pro-level camera gear for a low-level four-digit number on eBay. Photoshop will run on many computers, and it is 120 € per year. Available light photography with a natural look is highly demanded. So if you want to dive right into things, you are able to do so, even though I believe that a good photography school will still be able to support the development as a photographer for most people. Also, there is an ever-growing demand for imagery as the number of media outlets continues to grow, and the half-value-period of an image gets shorter and shorter.

On the other hand, with the success story of Instagram, photography is as popular as probably never before. Every day people shoot tons of pictures as they travel to all sorts of destinations and sell these on microstock sites with ridiculous licensing fees. Spots have to be closed down because everybody wants to have his shot of the location as well. Fashion magazines no longer pay money for the editorials, and some even charge photographers to feature their work, whereas the rest of the print media also cut their budgets with regard to the digital world. So if you have not been able to get overly popular on Instagram (I currently have 180 followers), or get a YouTube channel going, you really have to find a niche for yourself that works for your photography as well for your personality.

What is your latest project and where we can find more work by you?

My latest project is still work in progress, so I am not able to talk details. It is a landscape project, and I guess I will be out for some shots in the Alps this summer and fall. The largest collection of my projects can be found on the Behance network. If you are sincerely interested in all sorts of visual artistry, the Behance network is a great place to be! My website can be found here. And if you feel sorry for me and want to skyrocket my failing Instagram-account to the number of 200 followers and more, feel free to go to my Instagram here.

Thank you for joining us Nikolaus!

7 Empowering Moments in Anne With an E

Anne With an E (2017) is a divisive Netflix series that was recently cancelled despite its popularity and the reception of its third season. Based on Lucy Maud Montgomery’s Anne of Green Gables book series, the television show follows thirteen-year-old orphan Anne Shirley as she finds a home in Avonlea on Prince Edward Island. She is adopted by the elderly Cuthbert siblings who initially don’t know what to make of this wild, imaginative child, but soon love her as their own.

Anne makes many friends in Avonlea, but not without her fair share of struggles. The series is much darker and grittier than its utopian source material, and it sees Anne and many other characters deal with prejudice and discrimination. Some of the most empowering moments are when these characters are accepted and change their community for the better – and, more importantly, when they accept themselves.

Cole Belongs

Cole becomes one of Anne’s closest friends in season 2. He’s very artistic and somewhat feminine, which he’s bullied for by the other boys and the teacher. Anne gets to know her best friend Diana’s Aunt Josephine, who reveals that she never married because she lived with a woman she was in love with. Anne, Diana, and Cole attend a summer soiree at Josephine’s house, where Cole finds that he fits in among the quirky guests, many of whom identify as LGBTQ+.

When Cole returns to Avonlea, he’s miserable and doesn’t go back to school for fear of further bullying. When she learns that he’s been skipping school, his mother is so disappointed in him that she won’t let him leave the farm.

On their next trip to visit Aunt Josephine, Cole tells Anne that he won’t be returning with her. He remains to live with Josephine, where he can be open and proud of his identity, and where he hopes to one day find love.

Freedom of Speech Protest

Josie Pye is a mean girl who tries to demean Anne every chance that she gets. In season 3, she begins a courtship with Billy Andrews, who bullies Cole. When Billy attempts to assault Josie, she tries to confide in her parents, but her father is only frustrated that Josie has ruined her chances at marriage. Mrs Pye is sympathetic but thinks her daughter is to blame. Throughout the season she pushes Josie to advance her relationship with Billy, making Josie curl her every night and encouraging her to start a “Take-Notice Board” (where boys post notes about girls that they take notice of).

Anne is outraged by the rumours of Josie’s promiscuity when she knows that Billy is to blame, and she knows that it will ruin Josie’s reputation. Despite how awfully Josie usually treats Anne, she takes it upon herself to help her bully. She writes a feminist opinion article in the school paper without consulting anyone, but it isn’t received well. The school board bans Anne from the paper, Josie is angered, and Anne’s friends take Josie’s side. Gilbert, Anne’s future husband, is the only person to defend her. The school board also believes that the newly hired female teacher, Miss Stacy, is to blame for her classmates’ behaviour. They steal the printing press and burn the schoolhouse down.

The classmates come together to take a stand at the town hall and protest for freedom of speech. Mrs Rachel Lynde, Marilla Cuthbert’s best friend, threatens to expose the men on the board unless they allow three more women to join and create a gender balance. In the end, Anne’s friends see that she is right, even if it takes some work to push against preexisting ideologies they’ve had ingrained since childhood.

Students Rally Around Miss Stacy

When Miss Stacy replaces the previous teacher, Mr Phillips, many of the local women are shocked by her reputation. She is a widow who doesn’t wear corsets, rides a motorized bicycle, and teaches through practical methods rather than traditional memorization. The so-called Progressive Mothers Group attempt to remove her from her post, but the students won’t have it.

While the adults of the town are meeting to vote on Miss Stacy’s removal, the students concoct a plan to convince them otherwise. They travel to Charlottetown for supplies and return halfway through the meeting, each carrying a potato lightbulb – something Miss Stacy taught them to make in class. The parents are impressed and listen to the students talk about everything Miss Stacy has done for them. Miss Stacy herself walks in and offers her own opinion in a level, reasonable manner. The adults elect to keep Miss Stacy, and the students rejoice, excited to keep learning.

Ruby Loves Being a Woman

When Anne gets her first period, she laments that she’s not ready to be a woman. The girls discuss it at school the next day, calling menstruation shameful – but when curious Anne asks why they have no answer. “We can make a whole person,” she says with awe.

When a few boys lift their skirts, Anne yells, “A skirt is not an invitation!” while the others brush it off as a joke. In season 3 Gilbert proudly reads from Anne’s opinion article, “Women matter on their own, not in relation to a man.” Men repeatedly call the women of Avonlea “hysterical” and tell them their thoughts don’t matter. Diana, Anne’s best friend, lives with parents who insist that she’s “obliged to marry well” and that this is her one task in life.

At the ripe age of thirteen, Anne proclaims “I love being a woman,” not long before rebuking Billy, who says men do “real work” while girls bake cookies. Ruby’s house has been damaged in a fire, so she stays at Anne’s home while the men repair it. Ruby has a notorious crush on Gilbert, so Anne suggests they bake biscuits for the boys. Billy mocks them while Anne tells him she could do the work while he’s too busy being a bully to do it himself.

At first, Ruby resists being associated with Anne, but when Anne introduces her friends to Beltane rituals, they feel empowered. Ruby kneels on the ground, crying. “How I love being a woman,” she says emphatically, smiling.

Diana Takes the Queen’s Exam

The Barry family is firmly against girls receiving an education. Diana’s mother is preparing her for Finishing School, where she will learn to perform household duties and how to be a wife. Diana is confused. Aunt Josephine tries to talk to her, but she gets defensive. Yet when she leaves school while Anne and the others remain to study for their Queen’s Academy entrance exams, she seems longing and regretful.

At the last minute, Diana decides to sit the exam, but she can’t tell her parents about it. Aunt Josephine is secretly pleased but doesn’t let anything on. Diana ends up passing and is accepted to Queen’s with her friends – but her parents are sorely disappointed. Mr Barry yells at her and blames her for upsetting her mother, who is in tears on the sofa. Eventually, Diana’s parents relent, and she joins Anne at Queen’s Academy. Unfortunately, the series was cancelled before the Barrys’ reasoning behind this could be explored, and before viewers could see Anne and her friends embracing their futures.

Prissy Runs Away From the Wedding

From Anne’s first day at Avonlea School, Mr Phillips is portrayed as a biased, ornery man who is extremely unprofessional in his work. He shares a scandalous filtration with Priscilla (Prissy) Andrews, the sister of Billy and Anne’s friend Jane. In season 2, Mr Phillips asks Mr Andrews for permission to propose to Prissy, and she accepts. Everyone at school whispers about the unconventional relationship while Mr Phillips continues being rude and discriminating against students – like Anne and Cole – in class.

Prissy begins to have doubts about Mr Phillips. Her mother is one of the head members of the Progressive Mothers Group, and she expresses her concern over the arrangement, especially Prissy’s willingness to give up a college education. Prissy asserts that this is what she wants, but as the girls help her get dressed on her wedding day, Anne tells her that she hopes their marriage will one day become one in which they respect and like one another. Anne means it in earnest, but Prissy becomes sombre. At the altar, she glances around at her mother and her friends, drops her bouquet, and runs out of the church. Mrs Andrews smiles quietly to herself, and the girls run after her.

Prissy trips over in the snow and the girls think she’s crying. But when she lifts her head, she laughs. The girls dance around in their colourful dresses, playing with the snow, revelling in their youth and freedom.

Anne Accepts Herself

Anne often complains about her red hair, slim figure, and freckles because her appearance is considered “homely” and unappealing in the setting she’s living in. This is an important theme to bring up, especially in a series set in an environment where women are valued for their ability to be a good wife, and one of their greatest assets is supposed to be their appearance.

Anne continually compares herself to her friends, especially Diana, who she considers to be “divinely beautiful”. But when Mrs Lynde calls her ugly, Anne flies into a rage, telling her that she hates her. Marilla wonders why Anne is so infuriated by a comment that Anne makes often enough to herself. Instead of comforting Anne about her appearance, she only calls her vain. Anne seems to learn her lesson when she accidentally dyes her hair green, and Marilla cuts it all off.

But only at the end of season 3 does Anne like her appearance. After Diana joins her at Queen’s and she and Gilbert confess their love for one another, Matthew and Marilla arrive with a gift. Season 3 follows Anne’s search for her biological lineage. The Cuthberts, while worried at first that they would lose Anne, eventually decide to help her. They find a book that belonged to Anne’s parents. In it, Anne learns that her mother was a teacher and had red hair, like her. That night, Anne is penning a letter to Gilbert: “Dear Gilbert, I look like my mother …” She pauses and looks at her reflection in the mirror and smiles. This is a very fitting last shot for the season, which now also serves as a series finale.

Album Review: HAIM, ‘Women in Music Pt. III’

HAIM know how to craft an immaculate pop song. ‘Want You Back’, a highlight from their last album, 2017’s Something to Tell You, is a masterclass in pop songcraft, to the point where its infectious qualities almost conceal its emotionally charged subject matter. On that album, the indie rock group – comprised of sisters Danielle, Alana, and Este Haim – took their retro-leaning, summery blend of classic rock and modern pop to new heights. But despite its blissful melodies, their sophomore effort didn’t earn them the same rapturous response as their acclaimed 2013 debut Days Are Gone – expectations were high, and there was a fear that the group might be relying on the formula that brought them success a little too much this time around, even if they’d honed it to near perfection.

Women in Music Pt. III, with all its messy contradictions, does not fall into that trap. Though still rife with plenty of hooks and catchy choruses, the Los Angeles trio’s latest reveals a different side of the Haim sisters – many different sides, in fact. It’s their boldest, most experimental album to date, one that showcases their knack for nuanced yet emotive songwriting without sacrificing the effortless cool of their previous releases. HAIM don’t just step into a wide range of styles here; they prove that they can pull off every single one of them with just as much personality and charm. ‘Up from a Dream’ boasts a strutting, heavy guitar riff that calls back Heart; the synth-driven ‘I Know Alone’ sounds like a less indulgent 1975 song; ‘3am’ is a funky R&B tune as solid as any. Somehow, folk cuts like ‘Leaning on You’ and the Joni Mitchell-inspired ‘Man from the Magazine’ harmoniously coexist alongside the beach-ready ‘Another Try’ and the piercing heavy metal wails of ‘All That Ever Mattered’.

Rather than coming off as cluttered or unfocused, though, the diverse and eclectic sonic palette of WIMPIII feels like a flower opening up to unveil its many colours. That openness comes through in the album’s sharp lyricism, too, which finds the band at their most personal and vulnerable. “Been a couple days since I’ve been out/ Calling all my friends, but they won’t pick up,” Danielle sings on ‘I Know Alone’, a track that perfectly captures the cycle of loneliness that we’ve all experienced during quarantine as well as the feelings of worthlessness it comes with. As its title suggests, ‘I’ve Been Down’ delves further into the singer’s depression, but ends with the hopeful chant of “I think that we need to come together.” Elsewhere, the band’s raw honesty leads to some uncompromisingly confrontational moments: on the stand-out ‘The Steps’, Danielle confidently declares: “Every day I wake up and make money for myself/ And though we share a bed/ You know that I don’t need your help/ Do you understand?” A similar exploration of gender dynamics resurfaces on ‘Man from the Magazine’, this time exposing the kind of sexist comments targeted towards “women in music”, from “Do you make the same faces in bed?” to “Hey girl, why don’t you play a few bars?”

Much of WIMPIII deals with the complicated feelings of trying to hold onto a doomed relationship; not a new subject for HAIM, but never so candidly laid out. “It’s f*cked up, but it’s true/ That I love you like I do,” Danielle admits on ‘FUBT’ against a lone but punchy electric guitar. On the groovy ‘Don’t Wanna’ – the closest the album comes to sounding like the band’s previous outings – she continuously repeats that she doesn’t want to give up on the relationship, even if that very fact probably isn’t a good sign. But when she proclaims that “All that ever mattered was you” on the adventurous ‘All That Ever Mattered’, it’s not framed as a heartfelt affirmation but a bitter attack; she’s tired of being treated this way. The track features a larger-than-life solo and a throbbing drum kick, with Rostam’s production standing out. The album has a similar flair to Clairo’s Immunity, another album he co-produced, in the way it amplifies that sense of vulnerability with a sound that’s both subtly expansive and intimate; but it also calls back Vampire Weekend’s Father of the Bride, a record which, though somewhat overstuffed, featured noteworthy contributions from both Danielle and her partner Ariel Rechtshaid.

The three songs that served as a teaser for this new era in the band’s career – ‘Summer Girl’, ‘Now I’m In It’, and ‘Hallelujah’ – appear as bonus tracks here, each with their own unique eccentricities. ‘Summer Girl’ is a laid-back, tender homage to Lou Reed that hints at the jazz-inflected sound of tracks like opener ‘Los Angeles’, while ‘Now I’m In It’ is another propulsive synth jam for anyone who wants more of what ‘I Know Alone’ has to offer. But it’s ‘Hallelujah’ that hits the hardest, a finger-plucked acoustic ballad in which Alana reflects on the loss of a friend while Este opens up about her struggle with diabetes. More than anything, the track is about sisterhood: “Laughing together like our thoughts are harmonized/ Been that way since ’95,” they sing. Perhaps that sense of togetherness is part of what makes WIMPIII such an inviting journey – no matter how many different paths the album takes, HAIM are always in sync.

Watch the Video for Kanye West and Travis Scott’s New Track ‘Wash Us in the Blood’

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Kanye West and Travis Scott have teamed up for a new song called ‘Wash Us in the Blood’, the first taste from West’s upcoming studio album, God’s Country. The new single arrives with a visual directed by previous West collaborator Arthur Jafa. The video includes footage from recent protests, as well as shots from from the rapper’s Saint Pablo Tour and Sunday Service rehearsals. Check it out below.

Sonically, ‘Wash Us in the Blood’ confirms rumours that West’s new album would call back the experimental leanings of Yeezus, though with more pertinent subject matter. Dropping as part of the rapper’s #WESTDAYEVER campaign and teased back in April in an interview with GQ, the track sees the rapper discussing the death penalty: “Thirty states still execute/ Thou shall not kill, I shall not spill, Nextels at the rendezvous,” he raps.

God’s Country will be the follow-up to the rapper’s 2019 gospel album, Jesus Is King, and Sunday Service Choir’s companion LP Jesus Is Born. Speaking of his new album, West said: “I was thinking of not rapping again, because I rapped for the devil so long that I didn’t even know how to rap for God. Then one of my pastors told me, ‘My son just said that he would want a rap album about Jesus from Kanye West.’ He didn’t say, ‘Kanye West, you should do this,’ or ‘you need to do this.’ He just told me something that a child said. And that one thing made the difference.”

Last week, West shared a teaser for a new CGI animated series based upon Kids See Ghosts, his 2018 collaborative project with Kid Cudi, directed by Takashi Murakami.

Sufjan Stevens Announces New Album ‘The Ascension’

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Sufjan Stevens has announced his long-awaited follow-up to Carrie & Lowell. His new album, comprised of 15 new songs and accompanied by a 16-page booklet of his drawings, is called The Ascension, and it’s set for release on September 25 via Asthmatic Kitty Records. Check out the cover art and tracklist below.

The first preview of the album, the 12-minute ‘America’, will be unveiled on Friday (July 3). Though his first full solo album in five years, the singer-songwriter released a collaborative record with his stepfather, Lowell Brams, back in March called Aporia.

The Ascension Cover Artwork:

The Ascension Tracklist:

1. Make Me An Offer I Cannot Refuse
2. Run Away With Me
3. Video Game
4. Lamentations
5. Tell Me You Love Me
6. Die Happy
7. Ativan
8. Ursa Major
9. Landslide
10. Gilgamesh
11. Death Star
12. Goodbye To All That
13. Sugar
14. The Ascension
15. America

Glass Animals Release New Single ‘Heat Waves’

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Glass Animals have released a new single titled ‘Heat Waves’, taken from their upcoming studio album, Dreamland. The single comes with an accompanying video directed by Colin Read, which sees frontman Dave Bayley strolling around the streets of London during lockdown on his way to an empty venue. Check it out below.

In a press release, Bayley called the song “a love letter to live music and the culture and togetherness surrounding it.” Speaking of the video, he explained: “It was filmed at the peak of the lockdown in my neighbourhood in East London by the lovely people who live around me, just using their phones.”

He added: “These are people who are usually out at shows, in galleries, going to cinemas etc. These venues are left empty now, and many of them will not survive. The song is about loss and longing, and ultimately realising you are unable to save something… and this video is about that but for art, being together, and human contact.”

The UK indie pop group’s forthcoming album was originally slated for release on July 10th, but was recently postponed to August 10th “in order to respect and support the ongoing Black Lives Matter movement,” according to a statement. The band previously previewed the album with the Denzel Curry-featuring ‘Tokyo Drifting’ and the title track.

Phoebe Bridgers Shares Studio Recording of John Prine Cover

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Earlier this year, Phoebe Bridgers shared a cover of John Prine’s ‘Summer’s End’ on Instagram following the legendary singer-songwriter’s death in April. Now, she has released a proper studio recording of the song for SiriusXM. Listen to it below.

The new recording, which features more polished production, dreamy guitars, and intricate vocal harmonies, was broadcast on SiriusXM last week as part of the station’s SiriusXMU Sessions series. When she originally performed the track, which is taken from Prine’s 2018 album The Tree of Forgiveness, for Pitchfork, she said: “He’s one of the most important people on the planet to me. I was lucky enough to see him a couple times. This is from his last record. It’s one of my favorite songs ever.”

Recently, Bridgers also covered Bright Eyes’ classic 2005 song ‘First Day of My Life’ for Deezer’s Home Sessions. Earlier this month, she released her sophomore album, Punisher, which we named one of the best albums of the year so far.