Singer-songwriter Chelsea Wolfe and Jess Gowrie have announced the formation of a new band called Mrs. Piss. The duo have also shared two new tracks, ‘Downer Surrounded by Uppers’ and ‘Knelt’, which you can listen to below. The singles are taken from the group’s upcoming debut LP titled Self-Surgery, due on May 29 via Sargent House.
Wolfe and Gowrie started working on their collaborative project while touring in support of Wolfe’s 2017 album Hiss Spun. They recorded their debut album as Mrs. Piss at the Dock Studio in Sacramento, California and at Wolfe’s home studio the Canyon, with Wolfe on vocals and guitar and Gowrie on drums, guitar, bass, and programming.
Wolfe, who released her latest solo LP Birth of Violence last year, said in a statement:
Working on this project brought Jess and I so much closer as songwriters and production partners, after reuniting as friends and bandmates. It was freeing and fun to channel some wild energies that I don’t typically put into my own music. We tried not to overthink the songs as we were writing them, but at the same time we did consciously put a lot into crafting them into our own weird sonic vision. This project was a chance for us to do things our own way, on our own terms, and we plan to invite more womxn musicians along for future Mrs. Piss recordings.
Gowrie added:
To me, Mrs. Piss represents a musical chemistry cut short long ago that now gets a second chance. Creating with Chelsea has always been very liberating for me, and we both push each other to try new things: anything and everything. Both of us have grown so much as writers and musicians since our first band together (Red Host), and with the journeys we had to take separately to get there, we both have so much more to say; so much more pain and anger to express. That said, we also had a lot of fun doing it, not to mention how freeing it is to not give a f-k and to just create.
Self-Surgery Tracklist:
01. To Crawl Inside
02. Downer Surrounded by Uppers
03. Knelt
04. Nobody Wants to Party With Us
05. M.B.O.T.W.O.
06. You Took Everything
07. Self-Surgery
08. Mrs. Piss
Named after character from the anime series My Hero Academia, recovery girl is the moniker of electronic producer Galen Tipton, hailing from Columbus, Ohio. Following 2018’s nightbath, their latest self-titled effort was initially released as an EP back in January and recently reissued by Orange Milk as a full-length record, featuring songs from February’s gross/scratch as well as seven remixes. This new, expanded edition is a dynamic, glitched-out powerhouse of experimental pop – or so-called ‘hyperpop’ – in the same vein as 100 gecs and PC Music, though Tipton infuses their own unique personality into those stylings. Highlight ‘that girl is my world (you transphobic piece of shit)’ is as compelling as its title, propelled by a fluid song structure that perfectly complements the track’s theme, while ‘don’t be my light’ incorporates hardcore elements into its already abrasive mix. ‘gross’ drills into your head with its propulsive, intoxicating rhythm, while opener ‘big loud & violent’ is a downright banger.
We caught up with Galen Tipton for this edition of our Artist Spotlight series, where we showcase up-and-coming artists and give them a chance to talk a bit about their music.
What inspired you to start making music?
If I had to trace it back to one moment definitely Guitar Hero 2. Not only did it inspire me to get interested in playing and making my own music, it actually got me interested in listening to music for pleasure and seeking out more of what I liked.
Why did you choose that particular character from My Hero Academia as your moniker?
i really identify with her abilities to heal nearly any wounds. the project started off as a way as therapy for me; a way to work through, heal and “bounce back” from trauma and hopefully give others the energy to do the same. its just as a reminder to myself that no matter what pain i go through i have the power to process, grow, and heal no matter how bad it gets
What were some of the inspirations behind recovery girl?
the biggest inspiration behind this project is definitely laura les of 100 gecs. I’ve been wanting to make pop music for years but have just in general been very embarrassed and dysphoric about my voice. hearing laura’s work for the first time made everything click for me and I almost immediately started working on stuff, not really planning on releasing anything, but just as something just for me to show myself that I could do it if I wanted to. having enough support and positive feedback from friends and peers helped me turn this into a full fledged project.
besides the obvious pc music and post pc music/hyperpop/whatever you want to call it influences i take a lot of influence from digital hardcore acts like machine girl, street sects, deli girls, etc. im really interested in the fusion of pop and hardcore sounds and want to blur the lines between them as much as possible. i grew up on all types of hardcore and metal and whenever I start performing recovery girl sets i want to get people moshing as much as dancing
What was the recording process like?
when it comes to vocals and lyrics im still pretty self conscious about recording and performing, so i would find different ways to “trick” myself into being comfortable. a lot of times i would record over an instrumental or loop of a song that already exists and that I’m comfy with then delete that instrumental and build a track around those vocals, basically remixing and sampling myself. lately ive been recording myself singing chorus’ of pop songs that already exists just to have some sort of familiar reference, then chopping up and sampling that recording and splicing it into the track. as a producer mainly, i’m more interested in using my vocals as a glue to hold different instrumental ideas and passages together and help translate my more exuberant production ideas into a pop lense. from an instrumental stand point i was just trying to be as loud and raw as i possibly could, not thinking too hard about anything and stopping myself from adding too much detail, trying make the project as focused and straight forward as possible without sacrificing energy.
Could you talk a bit about the remixes that appear on the new deluxe edition of the record?
the remixes are all done by friends and musicians i admire and want the world to be watching out for and paying attention to ! there were many other artists who were not able to create and submit remixes in time for release but with all the stems out there now we should be seeing some more amazing remixes out soon !
What are your plans for the future?
currently im working on a few singles and am at the early stages of demoing out a full length for recovery girl. because the project has been very sample heavy up to this point, i’m currently working on building soundbanks of sounds i am making myself to use in the project as a challenge to myself. when it comes to the work released under my own name, ive got an EP dropping this summer as well as full length follow up to my recent Orange Milk release that is nearly done.
would really love to tour either under the recovery girl project or galen tipton project, and there are small chances of either of those happening later in the year depending on how everything plays out with the covid situation.
Chiara Zonca, a beloved photographer and artist, based out of Canada, has revealed a superb series named American Land. In this photo-based series, Zonca focuses on the texture study on the American West.
Portland singer-songwriter Johanna Warren’s music transcends boundaries. To her, all art forms are connected; whether she’s processing life through the medium of music, film, or the Japanese healing technique Reiki, the goal is always to try to find harmony and balance. Warren’s fifth solo album, fittingly titled Chaotic Good, strikes that exact balance, delving into the deepest parts of the human soul in an effort to crystallise peace out of conflict. Confronting the pain caused by a toxic relationship, the record stands out from the rest of her discography for just how raw and visceral it can sound – she channels her full-throated anger on highlight ‘Twisted’, in which her usually hushed delivery reaches a hair-raising crescendo as she howls, “I will not be displaced/ By how much I love you.” Recorded in part at Elliot Smith’s New Monkey Studio, Smith’s spirit looms large over the album, especially on the haunting ‘Bed of Nails’ and the dynamic ‘Part of It’. On piano ballads ‘Only the Truth’ and ‘Bones of Abandoned Futures’, Warren showcases her knack for combining poetic storytelling with hypnotic, dreamy melodies that coarse through your veins like medicine. The struggle might be ongoing, but at the end of it all, there is balance.
We caught up with Johanna Warren for this edition of our Artist Spotlight series, where we showcase up-and-coming artists and give them a chance to talk a bit about their music.
What inspired you to start writing music?
I felt clumsy at best (paralyzed, frequently) in “normal” social situations, but had a lot going on inside. Music made more sense to me than talking.
Who are some of your biggest influences, musical or not?
Plants, mushrooms, Dolly Parton, dolphins, the Buddha, Jesus, UFOs, death, the internet, Kendrick, Alejandro Jodorowsky.
What role does spirituality play in your music?
I don’t make a distinction between “spirituality” and anything else. It’s all sacred, it’s all profane. And it’s all music.
Could you talk about your experience doing the Plant Medicine Tour?
That was one of the most beautiful experiences of my life. I wanted to use my concerts as a way to talk about our connection to nature, to raise awareness about herbalism and the importance of eating clean, local food because I felt a certain indebtedness to the plants for my own healing. I played about 75 shows all over the US, and at every one I’d invited local farmers and herbalists to come sell their tinctures, teas, salves, etc. and talk to their communities about what they’re up to and how people can get involved. It was incredibly optimism-inspiring to be greeted every single night by a glowing crew of big-hearted humans and their plant allies, and to watch communities forming and strengthening around those relationships.
How was the process of writing and recording your new album?
Chaotic, and good.
Do you have a favourite song from the album?
Twisted.
What’s next?
I just finished writing a screenplay and am hoping to get it in pre-production this summer so we’ll be ready to dive into filming as soon as that’s possible again.
Prospa, a UK-based duo, have released their latest single Ecstasy (Over & Over). The single marks their second this year, after the release of The One, earlier in the year.
Ecstasy shines on punchy synths, rave-ready beats and dancing energy. It’s fun to put it in conclusion. Talking about the track, Prospa said: “This track is very special to us, it’s the one that most people have asked us about in our sets, one that we feel is a step forward in our sound yet still has our watermark. We hope everyone feels the love from this song in such a time.”
The duo has also been busy working towards a bi-weekly show called Rave Science FM, to showcase their discoveries during this odd time.
As the world adjusts to the ongoing impact of Covid-19, Our Culture hopes it can distract you for a little while with a selection of film recommendations from our writers and contributors. We’ve pulled from film’s long history to give you some remarkable choices. We hope this eclectic range excites, inspires, and engages you. Let’s begin!
The Raid (2011) – as selected by Elias Michael
Gareth Evans’ Indonesian martial arts action crime thriller offers up one hell of a ride. The Raid follows an elite squad and a rookie as they attempt to navigate a high rise building controlled by a ruthless drug lord. Featuring some of the best scenes of martial arts, violence, and action you’ll ever see on screen, The Raid offers a fast paced, simple but edge of your seat viewing that will have you entertained for its entirety. If you’re looking for carnage, look no further. The Raid can currently be seen on Netflix.
Joe Taslim and Yayan Ruhian in The Raid.
Spirited Away (2001) – as selected by Eric Ng
Spirited Away is a Japanese fantasy animation following a 10-year old girl Chihiro and her parents who’ve stumbled upon a mysterious spirit realm. In an unfortunate event, Chihiro’s parents are turned into massive pigs. Trapped in this bizarre and supernatural place, she will need to find the courage to free her parents and return to the normal world.
As we are all now trapped in this not-so-uplifting situation, Spirited Away provides you with 2 hours of fantastic cinema that allow us to escape our current reality and dive straight into the film’s magical world. From Hayao Miyazaki’s masterful animation and character design that still look top notch to this day, to Joe Hisaishi’s mellow yet beautiful score that will stay in your head, Spirited Away is a great introduction for those unfamiliar with Japanese animation and Studio Ghibli. Spirited Away can currently be seen on Netflix.
Chihiro and Kaonashi.
Godzilla vs. the Sea Monster(1966) – as selected by Christopher Stewardson
Jun Fukuda’s Godzilla entries are some of the most bold and colourful of the Showa era (1954-1975), and Godzilla vs. the Sea Monster is no exception. With his brother lost at sea, Ryota (Toru Watanabe) steals a yacht to find him. His unwitting companions include two friends who lost a dance competition to win their own yacht (a competition which Ryota was too late to enter), and Yoshimura (Akira Takarada), a petty criminal who stole the yacht in the first place. After this unlikely band are attacked at sea by a giant claw, they drift ashore on Letchi Island. This is no ordinary island however, and is in fact the base of operations for the Red Bamboo; a terrorist organisation with their own giant monster, Ebirah.
Shinichi Sekizawa’s script makes for exciting and witty entertainment. Takarada in particular takes Sekizawa’s comedy touches and crafts a character who steals every scene he’s in. The pace is tight and rarely lets up, with human and monster scenes intertwining for a thrilling climax. Often overlooked by fans and critics, Godzilla vs. the Sea Monster deserves a second look. Godzilla vs. the Sea Monster can be seen in the Criterion Collection’s Godzilla: The Showa-Era Films 1954-1975 box set.
Godzilla battles the shrimp-like Ebirah.
Nightcrawler (2014) – as selected by Modestas Mankus
Set in Los Angeles, Nightcrawler follows Louis Bloom (Jake Gyllenhaal), a psychopathic thief who realises he can start a business by capturing videos of horrendous criminal activities and accidents. When he realises that he can make more money by finding exclusive footage, he resorts to creating his scenes rather than discovering them.
Dan Gilroy, the writer and director of the film, has delivered a taught thriller here. It is well-paced and questions the ethics and motivations of modern media. If you are looking for something tense, and refreshing, you will love Nightcrawler. Nightcrawler can currently be seen on Netflix.
Jake Gyllenhaal and Riz Ahmed in Nightcrawler.
Ran (1985) – as selected by Elias Michael
Akira Kurosawa’s unforgettable masterpiece draws from Shakespeare’s King Lear in this epic blood-soaked drama. An aging warlord decides to abdicate and gives his rule to his three sons. However, greed and betrayal grow as bloodshed and violence takes centre stage in a spectacle that delivers incredible set pieces, story, music, and direction. Kurosawa’s film examines the reality of war and the collapse of family. As of the 15th of May 2020, Ran has 11 days left on Mubi, but the film is very much worth the purchase on Blu-ray or Criterion. If you’re looking for a film widely regarded as one of the best of all time, Kurosawa gives you Ran.
Akira Kurosawa’s masterpiece.
The Guilty (2018) – as selected by Eric Ng
The Guilty is an intense Danish crime thriller that follows Asger Holm (Jakob Cedegren), a temporarily demoted police officer working as an emergency phone dispatcher. Asger takes up a call from Iben (Jessica Dinnage), a woman who tells Asger that she’s been kidnapped. When the call suddenly disconnects, Asger tries to do everything he can to find her.
With a solid 88 minute runtime, The Guilty is a bumpy and intense ride that keeps you hooked from the first ring of the phone. As this film is set in a single location, the set up really helps to put audiences into Asger’s perspective. As events unfold, you cannot help but gasp at the shocking truth of the story’s nature. While the events of the search are at the forefront, the film also gradually reveals Asger’s backstory; creating layers to our polarising protagonist.
If you are fan of intense thrillers that keep you on the edge of your seat, The Guilty is a film you need to check out! The Guilty can currently be seen on Netflix.
Jakob Cedergren as Asger Holm.
Stay tuned for more recommendations from Our Culture in the coming weeks. Let us know your thoughts on our choices!
Gabor Nagy, a photographer known for some brilliant series that explore landscapes from above, has delivered once again with a new series named At the Turquoise Lake.
Writing about the experience and the process it took to get these photos Nagy stated: “I’ve found these vivid phenomenons while I scanned through the Highlands of Iceland for river patterns and new photo locations on Google Earth. To reach this location we had to drive 5 hours on extremely tough terrain, and we even had to cross River Tungnaá by foot – so we timed our arrival to be at the riverbed in the morning so we could “easily” walk through the running water.”
Rhye, the artist behind the 2013 album Woman, has released his latest single Beautiful. With Beautiful, Rhye illustrates sensitive, heavenly-like vocals with a mellifluous production, something we have come to love from Rhye over the years. If you’re looking or something pure, you’ll love this song.
LOVVS King City, Pt. 1
King City, Pt. 1 by LOVVS thrives on an energetic beat and exquisite synths. Talking about the lyrics of the song LOVVS stated: “Lyrically, it’s a timely, pointed critique of the promise of capitalism, and how the institutions of big business, tech, politics, etc. have impacted society and culture.”
The song itself is a superb exhibition of the raw-sound that LOVVS presented in their previous single So, How Do U Feel? It takes us back in time to the 80s with the raw synths and elevating energy.
Nike Vendela Pull Me In
Switching up our frequencies, we have Pull Me In by Nike Vendela, a Swedish singer-songwriter. Pull Me In is a beautiful piece that showcases the stunning euphonious haunting-like vocals of Nike Vendela. The song thrives on ambient, floating elements that never settle and elevate the presence of Vendela’s vocals. Pull Me In is for the playlists.
Thomas Azier Hold On Tight
When I hear the name Thomas Azier I know I won’t be disappointed. Before the release of his upcoming album, we are presented with a tender new single Hold On Tight. As a song, it takes a different mood to the listener; it’s a little unexpected from Azier who brings in a more filmic-like approach in the production of the song. While it still brings out a sense of tension and dramatic-like energy, it shifts from his last song Entertainment.
Alongside, the song we are granted with a beautiful music video which explores Myanmar and its people on their everyday commute. Ayoto Ataraxia directed the video.
In this segment, we showcase the most notable albums out each week. Here are the albums out on May 15th, 2020:
Charli XCX, how i’m feeling now
Charli XCX is back with her fourth studio album titled how i’m feeling now, out via Atlantic/ Asylym. The album was written and recorded entirely during lockdown, reflecting on the current situation around COVID-19. Executive produced by by PC Music’s A. G. Cook and BJ Burton, how i’m feeling now took a DIY collaborative approach involving the artist’s fans, who contributed to the writing process via weekly Zoom conferences. “The nature of this album is going to be very indicative of the times just because I’m only going to be able to use the tools I have at my fingertips to create all music, artwork, videos everything – in that sense, it’ll be very DIY,” Charli explained when announcing the album. how i’m feeling now features the singles ‘forever’ and ‘claws’.
Perfume Genius, Set My Heart on Fire Immediately
Mike Hadreas aka Perfume has released his new album, Set My Heart on FireImmediately, out now via Matador. The follow-up to 2017’s No Shape was recorded alongside longtime collaborator Alan Wyffels and finds the singer working once again with producer Blake Mills. It also features musicians Jim Keltner, Pino Palladino, Matt Chamberlin, and Rob Moose. “I wanted to feel more open, more free and spiritually wild, and I’m in a place now where those feelings are very close—but it can border on being unhinged,” Hadreas explained in a statement. “I wrote these songs as a way to be more patient, more considered—to pull at all these chaotic threads hovering around me and weave them in to something warm, thoughtful and comforting.”
The Magnetic Fields, Quickies
The Magnetic Fields have come through with a new collection of tracks titled Quickies, out now via Nonesuch. The collection features 28 new short songs under 3 minutes long, which will be spread across five vinyl EPs, as well as being available as a single CD and on digital platforms. Describing the album’s concept, songwriter Stephin Merrit said in a statement: “I’ve been reading a lot of very short fiction, and I enjoyed writing 101 Two-Letter Words, the poetry book about the shortest words you can use in Scrabble. And I’ve been listening to a lot of French baroque harpsichord music. Harpsichord doesn’t lend itself to languor. So I’ve been thinking about one instrument at a time, playing for about a minute or so and then stopping, and I’ve been thinking of narratives that are only a few lines long.”
Moses Sumney, græ
After releasing græ: Part 1 back in February, Ghana-born, L.A.-based musician Moses Sumney has now put out the full double album via Jagjaguwar. græ is the follow-up to Sumney’s critically acclaimed debut album Aromanticism, released in 2017, and is described by a press release as “conceptual patchwork about grayness”. While the first part was pressed on black and grey vinyl, the second part is pressed on white and grey.
Other albums out today:
Future, High Off Life; Moby, All Visible Objects; Jason Isbell and the 400 Unit, Reunions; Asking Alexandria, Like A House On Fire; Bon Jovi, Bon Jovi: 2020.
Despite his attention-grabbing virtuosity, Blake Mills was always comfortable not being in the spotlight. Having begun his musical career as one half of Simon Dawes, he went on to become a touring guitarist for Jenny Lewis, before making a name for himself as a session musician, collaborating with a wide range of artists from Conor Oberst and Jesca Hoop to Lana Del Rey and Dangermouse. Even his debut solo LP, 2010’s Break Mirror, was made with the intention of securing more session work. As a producer, he continued showcasing his artistic versatility, most notably on Alabama Shakes’ Grammy-nominated 2015 album Sound & Color and Perfume Genius’ expansive No Shape, both of which broadened and recalibrated the artists’ approach – which is exactly what Mutable Set sets out to do for his own sound.
The fact that Mills’ latest solo effort finds him coming into his own as a songwriter almost goes without saying. As solid and occasionally brilliant as some of his prior solo work has been, Mutable Set immediately stands out for presenting a more refined, coherent vision that’s both wondrously amiable and disquietingly compelling. Any number of these songs could easily find themselves on some kind of ‘chill folk’ Spotify playlist, to be enjoyed as nothing but a soothing background presence; but the album also rewards more attentive listeners by offering multiple layers of nuance within its impeccable compositions and poetic lyricism.
Yet it’s the album’s understated nature, that sense of earnest unpretentiousness, that makes it such an inviting listen. In a genre that’s often centered around the persona of the artist rather than the music itself, Mills has crafted a defining body of work that captivates with the sheer beauty and warmth of its recordings. From the Elliot Smith-like waltz of ‘May Later’ to the late-night romanticism of ‘Window Facing a Window’, Mutable Set has you floating along mellifluous, delicately-drawn arrangements, like tender waves on a quite shore. That’s not to say that Mills’ voice lacks presence; but it’s exactly that unimposing, intimate quality that makes for the perfect companion on this idyllic musical journey.
But there also clouds looming over the album’s subtly pristine soundscapes, which makes Mutable Set so much more than an escapist folk record. One tide rises higher than the rest – album centrepiece ‘Money is the One True God’ builds slowly, as if ascending to the heavens, as Mills delivers a darkly sour commentary on capitalism and religion. Discordant keys and ominous synths gradually enter the mix, culminating in a hair-raising crescendo that triggers something vile and disgusting in you, like a moment from Mark Koven’s soundtrack for The Lighthouse. Follow-up ‘Summer All Over Again’ covers itself in a more gentle exterior, but there’s still a sense of dread boiling underneath – which is fitting, considering that it is, in fact, a song about global warming (“No movement/ No future/ No past”).
Credit must also go to Cass McCombs, who helped write a big chunk of the songs on Mutable Set, giving them that darker edge. Another Mills/McCombs collaboration, ‘My Dear One’ might first come off as a simple love song, but there’s an undercurrent of uncertainty running throughout: “Whistle in the dark with me,” he sings in a near whisper, as if addressing you, the listener. The same sentiment drives opener ‘Never Forever’, which starts as an almost ambient piece left over from Mills’ 2018 EP Look before a fingerpicked guitar emerges, Mills searching for “some place we could go/ where forever waters flow” to escape the mundanity of modern life. But even as sublime cuts like the instrumental ‘Mirror Box’ seem to offer exactly that, there’s always a sense that we’re still trapped in that grim reality.
It’s hard not to relate that feeling to the current state of things, especially with songs like ‘Farsickness’ and ‘Window Facing a Window’. The former is a glistening piano ballad about yearning to go somewhere far away, to break out of the confines of the home, conjuring up images and memories as tangible as they are endless. ‘Window Facing a Window’, on the other hand, evokes a more direct kind of emptiness: “A bedroom with a bed that isn’t there anymore/ The air that holds, the breath, the sun across the floor/ A catch of crumbs that you can’t do without anymore/ The orange peel, the apple core,” he sings amidst soulful, unearthly melodies. As bleak as it may sound, there’s a strange kind of comfort to be found on Mutable Set; it’s an album that acknowledges the direness of things even as it does everything in its power to create something more than just a pleasant distraction, a place to bask in, even if only for a while.