Bright Eyes have announced a new EP, Kids Table, which will arrive on September 26 via Dead Oceans. The 8-track release includes the band’s recent ska tune ‘1st World Blues’, as well as a new track, ‘Dyslexic Palindrome’, a swaying, shadowy duet with Hurry for the Riff Raff’s Alynda Segarra. Check it out below.
“Alynda Segarra is one of the most soulful people I have ever encountered,” Conor Oberst said in a statement. “Everything that passes through them is haunted by the weary ghost of American music past. I have had the good fortune of recording and performing with them on many occasions and I am always blown away by Alynda’s ability to channel what is both intangible and universal. Seemingly walking along in a second line of skeletons. Blowing on a valiant horn. I know it sounds crazy but, yet, there Alynda is. Always so very present but with one foot on the other side.”
Kids Table includes a cover of Lucinda Williams’ ‘Sharp Cutting Wings (Song to a Poet)’, which was released the year that Oberst was born. According to a press release, it was the first thing Oberst wanted to sing last fall after recovering from a medical emergency that left him battling vocal problems.
1. Kids Table
2. Cairns (When Your Heart Belongs to Everyone)
3. 1st World Blues
4. Sharp Cutting Wings (Song to a Poet)
5. It Always Feels Good and It Never Hurts
6. Dyslexic Palindrome (feat. Hurray For The Riff Raff)
7. Shakespeare In A Nutshell
8. Victory City
Hannah Jadagu has announced a new album, Describe, which arrives October 24 via Sub Pop. The follow-up to her 2023 debut Aperture features the early single ‘My Love’, as well as the brand new track ‘Doing Now’, which is as self-aware as it is catchy. Check it out below.
“I was feeling love and gratitude, but also guilt about being away for my job,” Jadagu reflected on the period following Aperture. “Being a musician requires sacrificing time – and one thing about me, I’m a quality time girlie.”
Jadagu worked on the new album with co-producer Sora at his studio in Altadena, as well as remotely on a few songs with Aperture co-producer and collaborator Max Baby out of Paris. “It was freeing to be able to sit at a synth and drone on one note while I explored my vocals,” she said. “I found that to be a bit more freeing than playing on a guitar.”
1. Describe
2. Gimme Time
3. More
4. DIAA
5. Perfect
6. My Love
7. Couldn’t Call
8. Tell Me That!!!!
9. Normal Today
10. Doing Now
11. Miracles
12. Bergamont
Here’s an unlikely but exciting collaboration: noise rock outfit Chat Pile have teamed up with fingerpicking guitarist and composer Hayden Pedigo for a joint LP called In the Earth Again. It’s set for release on October 31 via Computer Students. Check out the lead single ‘Radioactive Dreams’ below, and scroll down for the album artwork (by Malcolm Byers) and tracklist.
While they trade in very different styles of music, Chat Pile and Pedigo have crossed paths in the Oklahoma City DIY scene. “We all wanted to avoid the downfall you see in a lot of collab records,” Pedigo remarked. “We didn’t want this record to either end up primarily sounding like one of us more than the other.” In that regard, it reminds me of May Our Chambers Be Full, Emma Ruth Rundle’s collaboration with the doom metal band Thou. On ‘Radioactive Dreams’, spectral ambience and apocalyptic heaviness coalesce in quite an astonishing way.
Stin from Chat Pile added, “For the album, every decision made was in support of each other’s ideas and making sure that everything we did was in service of a greater vision.”
Chat Pile’s most recent album was 2024’s Cool World. Earlier this year, Pedigo put out I’ll Be Waving as You Drive Away.
In the Earth Again Cover Artwork:
In the Earth Again Tracklist:
1. Outside
2. Demon Time
3. Never Say Die!
4. Behold a Pale Horse
5. The Magic of the World
6. Fission/Fusion
7. The Matador
8. I Got My Own Blunt to Smoke
9. Radioactive Dreams
10. Inside
11. A Tear for Lucas
Gears of War: Reloaded recently came out on the PlayStation 5 (PS5), marking the arrival of one of the most popular Xbox franchises on a rival platform. As part of the launch, a required day-one update has been released by The Coalition.
More specifically, the patch introduces a range of fixes and adjustments that help performance and stability. It also addresses early technical issues while enhancing support for handheld devices. Similarly, the patch implements several quality-of-life improvements. According to a Pure Xbox report, the update is seen as key for a better gameplay experience.
An Xbox Classic Lands on PlayStation
Two decades ago, the idea of the game launching on a PS5 console would have seemed impossible — even funny. However, 2025 turned the unthinkable into reality. It also marks the first time one of Xbox’s biggest exclusive games has crossed over to the competitor’s platform. The move opens the door for PS fans to experience the tough and tactical shooter title.
Enhanced Visuals and Cross-Platform Features
Gears of War: Reloaded is a newly remastered version of the original 2006 version. However, it still brings the authentic, gritty combat of the first edition into the modern era. Reloaded boasts 4K assets, HDR, Dolby Atmos, and up to 120 FPS in multiplayer modes. Players can also enjoy cross-play and cross-progression, allowing seamless gaming across platforms.
For PS5 users, the game fully integrates DualSense controller features. At the same time, it comes with adaptive triggers and haptic feedback to enhance immersion. Similarly, players can achieve improved shadow quality and reflections through the PlayStation Super Spectral Resolution (PSSR) of the PS5 Pro. This particular feature of the console leads to a more impressive visual experience.
Day-One Patch Details
Alongside the groundbreaking cross-over is a crucial day-one patch. A report from PlayStation LifeStyle states that players need to download the update before they can play the game on a PS5. Pure Xbox says developer The Coalition and publisher Xbox have outlined the following fixes and improvements:
Corrected fire texture and animation display issues in the campaign.
Fixed power-saving conflicts on consoles affecting campaign and versus modes.
Mouse sensitivity adjustments on handheld PCs ensure consistent control.
Multiple crash fixes and performance upgrades for PC and consoles.
Optimized support for handheld devices, improving mouse and keyboard switching.
PC users will see improved frame rates when using DualSense controllers.
Resolved bugs in gameplay, UI, language, and controller inputs.
Gears of War: Reloaded is now available for purchase on the PS store for $39.99.
What does “home” mean when borders shift, housing feels temporary, and identities stretch across continents? “Home, Troublesomely Eases Me Out: A Modern Nomadic Melodrama”, held at the atmospheric Safehouse 2 in Peckham in the end of this summer (August 20-25, 2025), curated and designed by Yuan Zhang, Jiqiu Zhang and Lu Wang. Safehouse 2 is a ruin made into possibility: peeling paint, exposed beams, and fractured walls that carry the memory of another life. Its raw and fragile architecture becomes more than a backdrop, it is an active collaborator in this exhibition, where which combined the venue and exbibits together as a huge integral installation. Within its decayed rooms, the question of what “home” means gains urgency: is it protection, or confinement, or something we constantly rebuild?
Gathered artists from across the globe to explore belonging through images, sounds, performances, and materials. The result is less a fixed picture of home and more a moving stage, a nomadic melodrama where memory, imagination, and resilience play side by side.
The exhibition was also anchored by two participatory workshops. A cross-cultural dining workshop, led by a second-generation immigrant artist, Yufei Lucía Jiang turns food into a living archive of migration, where recipes transmit memory across generations. A comics and mental health workshop by Jiahao Ji reframes drawing as a therapeutic act, allowing participants to translate vulnerability into shared narratives. These projects highlight art as a practice of care, extending beyond representation into lived exchange.
On the visual front, artists bring their own stories into dialogue. Tobias Carlton examined how personal symbols meet public imagery, questioning where identity is anchored. Lingjun Feng worked with memory and landscape, layering fragments that speak to the instability of belonging. Cristián Fernández Ocampo took domestic environments apart, abstracting furniture and rooms into fractured geometries that echo the uncertainty of migration.
Anqi Lin used photography to bridge the intimate and the social, while Olivia Mary Birch turned to material experimentation, highlighting the body’s fragility and strength. Yixuan Yang brings a digital lens to the idea of home, while Ruilin Fu took a conceptual route, probing the very act of looking. Xiaoze Zhang combined painting and research, using visual forms as a way to ask deeper questions about identity and cultural context.
The dialogue continues upstairs. Jianing Han offered delicate reflections on sensory experience, and Roisin Bunting experiments with form and surface as part of her emerging practice. Belen Santamarina made one of the show’s most personal contributions: working with hair, embroidery, and crochet learned from her female relatives, she turns techniques once dismissed as “domestic craft” into powerful artworks. Her practice challenges gendered hierarchies and created moving autobiographical narratives that resonate with migration and memory. George Hinks adds works that hover between figuration and abstraction, evoking feelings of uncertainty and in-betweenness.
Photography takes new shapes in Yulai Xu’s monologic portrait images, which question the aesthetics of consumer culture, and in Xinrui Qiu’s Neither Here Nor There, an analogue project that suspends its subjects in limbo, between presence and absence. Lu Zeng used poetry to explore how words can frame cultural memory and displacement. Yan Wu brought a meditative tone to the exhibition. Working with ink and pigments on rice paper (Xuan Zhi) she reimagined traditional Chinese ink calligraphy-painting, repositioning motifs like birds in contemporary settings, exploring the intersection of languages, culture, materiality, text and poetry. Her delicate surfaces radiate quiet resilience, inviting viewers to pause and reflect on hybridity, displacement, and healing.
Performance and sound add further layers. Ya Shu’s dance work partnered with Alice Herzog showed the body as both vulnerable and resistant, moving through space with urgency and grace, with the flickering silhouette projected on Shu’s bamboo puppets installed in the space. Zhuping Zhong’s painterly interventions playfully disrupted surface and depth, hinting at the hidden layers of personal narrative. Meanwhile, Muqing Liu immersed listeners in soundscapes built from water and tides, compositions that feel like memory washing in and out with the current. The exhibition closed with a performance designed and directed by Lu Wang, performed and choregraphed by Congfang “Spring” Xiao and Yu “Emma” Ai that lingers in the senses, silkworm cocoons, fragile yet potent, appear as both shelter and constraint. Their colours, scents, and ruptures echo the ambiguities of home, at once protective and suffocating, while a single creature’s refusal to spin gestures toward resistance and transformation.
What makes this exhibition stand out is how each artist adds a fragment to a larger story. Carlton, Feng, and Zhang probe symbolism and abstraction. Lin, Xu, and Qiu rethink photography. Santamarina and Ocampo reshape domestic space into counter-narratives. Wu reimagines tradition as a site of hybridity. Liu, Shu, and Wang’s works bring sound and the body into the frame. Together, these practices suggest that home is not one thing, but many shifting, fragile, and constantly being remade.
At a time when so many people feel uprooted, by migration, by housing insecurity, by cultural displacement. This exhibition doesn’t offer a neat answer to what home is. Instead, it offers a stage where different voices, memories, and gestures coexist. It reminds us that home is not just where we come from, or even where we live now. It is something we keep building, in kitchens, in conversations, in art, and in imagination.
Ultimately, the exhibition resists nostalgia or closure. It insists that home is not given but constantly made and remade, through memory, through encounter, and through art itself. In this nomadic melodrama, the audience is invited not to seek resolution, but to inhabit the fluidity of belonging.
Curious about THCA flower? Discover how this cannabis trend is shaping wellness and creativity in modern culture.
Have you noticed the buzz around THCA flower in wellness and creative circles? From artists seeking inspiration to health enthusiasts embracing natural remedies, this non-psychoactive cannabis compound is redefining cultural conversations. Whether you’re drawn to its potential for mindfulness or artistic expression, this guide explores how to engage with THCA flower, connecting you to a vibrant movement.
Why THCA Flower Captivates Culture
THCA flower, the non-psychoactive precursor to THC, is more than a cannabis product—it’s a cultural touchstone. Musicians, visual artists and wellness advocates are drawn to its ability to foster relaxation and spark creativity without the psychoactive high. Picture a painter using THCA flower to unwind before a late-night studio session or a yoga instructor incorporating it into a mindfulness retreat. A 2024 survey by Cannabis Culture Insights found that 68% of creative professionals experimenting with cannabis prefer non-psychoactive options like THCA flower for focus and clarity. How does it fit into your lifestyle? By understanding its unique properties, you can join a growing cultural wave.
The cultivation of THCA flower mirrors artistic craftsmanship. Growers blend science and intuition, fine-tuning temperature, humidity and lighting to maximize THCA while preventing THC conversion. It’s like composing a symphony; every element must harmonize to create something extraordinary. Proper curing and storage preserve the flower’s purity, making it a staple in cultural spaces where authenticity matters, from art galleries to wellness festivals.
Discovering THCA Flower Online
When you buy THCA flower online, you’re tapping into a community of cultural explorers. Platforms like TWS offer premium THCA flower, alongside Delta 8 and Delta 9 products, all compliant with the Hemp Act. With TWS, you can explore over 3,500 dispensaries nationwide or have strains delivered to your door, perfect for integrating into your creative or wellness routine. Imagine sourcing THCA flower for a music festival’s relaxation lounge, inspired by events like Coachella’s wellness tents.
Quality defines the experience. Seek retailers with third-party lab reports to ensure purity and potency. TWS, for instance, provides transparent testing data, reflecting trust in their offerings. Consider these tips for online purchases:
Explore Reviews: Customer stories reveal how THCA flower enhances creativity or relaxation.
Check Shipping: Discreet packaging and tracking ensure convenience.
Seek Authenticity: Choose vendors who celebrate cannabis’s cultural significance.
These steps connect you to THCA flower as a cultural artifact, not just a product.
The Rise of THCA Flower Wholesale
For curating wellness events or creative collectives, THCA flower wholesale offers access to this trend at scale. Platforms like https://wholesale.texasweedsyndicate.com provide THCA flower by the pound, with 1/2lb and 1/4lb options for smaller needs. Their range, including Delta 9 gummies and THC syrup, supports diverse applications, from art installations to holistic pop-ups. For example, a Brooklyn art collective recently used wholesale THCA flower to create an immersive sensory exhibit, blending cannabis with visual art. Wholesale buyers should prioritize suppliers with rigorous lab testing to ensure products align with cultural values of safety and authenticity.
Prioritizing Quality in Cultural Context
Quality shapes the THCA flower experience, whether for personal or communal use. Lab tests confirm the absence of contaminants like pesticides, ensuring safety for health-conscious communities. Focus on these essentials in lab reports:
Safety Screenings: Ensure purity for cultural and wellness applications.
By choosing high-quality THCA flower, you contribute to a narrative valuing creativity and well-being over commercialism, resonating with today’s cultural ethos.
Your Role in the THCA Movement
Ready to explore THCA flower’s place in modern culture? Whether you buy THCA flower online through platforms like TWS or source THCA flower wholesale, you’re part of a movement blending art, wellness and innovation. Reflect on how this trend fits your creative or health journey—perhaps it’s the spark for your next project or a ritual for mindfulness. By prioritizing quality and cultural relevance, you can embrace THCA flower as a vibrant thread in the fabric of today’s cultural landscape.
Hong Kong, August 2025 – YFN Jewelry, a global leader in affordable fine jewelry, is pushing the boundaries of personalization once again. The brand now enables customers to transform a simple sketch or idea into a finished custom gold jewelry piece in just 10 days—and receive the completed item worldwide within 15 days.
Faster Customization, Without Compromise
In an industry where custom fine jewelry often takes weeks or even months, YFN has streamlined its design and production process. From concept to creation, customers can bring their vision to life with a speed previously unheard of in luxury jewelry. This efficiency is powered by YFN’s in-house design team, advanced manufacturing technology, and direct-to-consumer model.
“Personalized jewelry should not require endless waiting,” said a YFN spokesperson. “We believe creativity should be celebrated instantly. By delivering finished custom gold pieces in 10 days, we’re offering customers true freedom of design—without long delays or inflated prices.”
From Idea to Heirloom
YFN Jewelry’s custom process begins with customer input: a hand-drawn sketch, a reference photo, or even a written idea. YFN’s design team translates the concept into a 3D model within 48 hours. After approval, master jewelers craft the piece in solid 14K or 18K gold, with optional gemstones, engravings, or personal touches.
The result is a bespoke jewelry item that feels personal, meaningful, and luxurious—delivered within two weeks from the day of order.
Expanding Access to Affordable Luxury
This breakthrough in turnaround time reflects YFN’s mission to make luxury customization more accessible to global shoppers. By controlling its own factory and supply chain, the brand ensures fair pricing, ethical sourcing, and uncompromising craftsmanship.
Whether it’s a custom engagement ring, a personalized pendant, or a birthstone necklace, YFN empowers customers to design jewelry that reflects their story—without the high costs or long timelines of traditional luxury houses.
About YFN Jewelry
YFN Jewelry is a direct-to-consumer fine jewelry brand offering over 10,000 products and more than 500 themed collections. Renowned for its affordable solid gold jewelry, exquisite moss agate ring designs, birthstone pieces, and custom design services, YFN has served over 1.3 million customers worldwide. Every piece is handcrafted with precision, ethical materials, and a deep commitment to personalization.
This stunning 14K Gold Hexagon Cut Moss Agate Engagement Ring from YFN stands out with its unique design and exquisite craftsmanship. The main stone features a hexagon-cut natural moss agate, showcasing captivating green patterns reminiscent of a lush forest, symbolizing everlasting love. Surrounded by green and purple gemstones and set in 14K gold, it adds a touch of luxury. The ring’s multi-layer design, accented with delicate diamond embellishments, blends modern and vintage elegance seamlessly. As one of the fastest custom jewelry brands globally, YFN ensures this ring, priced at $729.99, not only boasts exceptional quality but also delivers personalized orders quickly, making it perfect for engagements and other special occasions.
The exhibition A Theatre of Cruelty was initiated by Yurui Shi and successfully opened on 9 August 2025 at SAFEHOUSE 1 in London. The curatorial work was led by Jiabin Xu, with Yi Lai and Ziqi Li jointly contributing to the preparation. This remarkable exhibition officially closed on 13 August 2025. Bringing together 28 artists from China, Germany, and Chile, the exhibition explored new spatial narratives beyond the confines of the white cube, through installations, moving images, photography, painting, and experimental media practices.
A Theatre of Cruelty offers a subtle contemporary interpretation of Antonin Artaud’s Theatre of Cruelty. By transforming a Victorian townhouse into a unified sensory field, the exhibition constructs a coherently immersive environment: peeled wallpaper becomes an actor who narrates time, humidity and light changes orchestrate the audience’s physical and psychological responses. The exhibition powerfully demonstrates the potential of curating itself to perform as a creative medium that generates unified emotional and cognitive experiences. Yet this huge curatorial success provokes a dialogue about how individual artworks position themselves within such a field of totality—which constructs its most inspirational theoretical contribution.
Photo credit: Tree
The handling of spatial narrative power is particularly sophisticated. Yihan Pan’s Untitled (2025)—a fictive window made of a white frame and a printed landscape—was embedded into the timber beams of the house. This simulacra window enters into a tense dialogue with its opposite, a real window and the scenery beyond. Through precise staging, the conceptual installation transcends mere visual metaphor, until interfering and activating the construction’s historical fabric. Incidental but ingenious, the installation discloses the polysemy of the ‘window’—a conduit of vision, and at the same time a parallax of illusion, when concept meets reality, the ideology of ‘window’ meets the entity of window, the contemporary art encounters historical building. It thus forms a symbiotic relationship between the artwork and its field, becoming a key curatorial narrative node. As Miwon Kwon raised the discussion in One Place After Another (2002), site-specificity has expanded beyond physical adaptation to encompass discursive and contextual dimensions—an idea embodied in the setting of the artwork Untitled.
Photo credit: Tree
This curatorial–artistic symbiosis finds another expression in Lei Zhao’s The Crowd (2025), which is projected in a cramped stairwell, compelling viewers to crouch and peer inwards. The film, focusing on the private lives of public figures, reflects the collective pathological voyeuristic impulse characteristic described by Gustave Le Bon in his work The Crowd： A Study of the Popular Mind (1985) during the internet era. Here, curatorial intervention is incisive: the enforced crouched posture and auditory interference from adjacent rooms reframe the contextual reception of the work. Far from diminishing it, the strategy adds a brand new reflexive critique of voyeurism itself. Themes of voyeurism are concretised and externalised through discomfort and surveillance introduced by the curatorial practice, prompting wider reflection on privacy, exposure, and the ethics of spectatorship.
Photo credit: Depei Wang
The curatorial narrative thus generates a palpable and productive tension. This deliberate structuring of the environment constitutes a bold authorial strategy. Such approaches may challenge conventional habits of art appreciation, but sharpen the exhibition’s conceptual rigour and coherence, extending Artaud’s principle of ‘cruelty’ into each curatorial decision.
The significance of A Theatre of Cruelty lies not only in its highly immersive environment but also in its demonstration of the evolution of site-specificity in curatorial practice—from a paradigm of physical adaptation to one of conceptual symbiosis. Here, curators and artists collaborate rather than confront, jointly exploring the potential of art to generate new experiences beyond the white cube. The exhibition poses an extremely generative question: when artworks are woven into a greater narrative structure, is their autonomy diminished or redefined? Instead of offering a simple answer, A Theatre of Cruelty invites audiences to dwell on its complexity. Its achievement lies in showing that curating, as a rigorous intellectual practice, can co-construct with artistic creation a discursive field that is richer, more open, and more dialectical.
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Tuesday, August 26, 2025.
Spoon – ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’
Spoon have returned with two swaggering new songs, ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’, which they recorded with producer Justin Meldal-Johnsen while working on a new album. “Two new tunes with distinct personalities that were summoned into the world the past few months in Austin TX and Providence RI,” Britt Daniel commented. “It’s a big day all around: tonight we kick off our first tour in a while in Santa Ana, and tomorrow we start up our run with the Pixies — let’s face it, one of theee great bands of all TIMES. A band that some may know has long been near and dear to me. It’s a real pleasure and we’re real happy to be getting back into gig world for a sec. See you down front.”
Geese – ‘100 Horses’
“There is only dance music in times of war,” Cameron Winter proclaims on Geese’s slinky, gloriously apocalyptic new single ‘100 Horses’, which is taken from their forthcoming album Getting Killed. It arrives on the heels of lead single ‘Taxes’.
Mavis Staples – ‘Beautiful Strangers’
Mavis Staples has a new covers on the album on the way called Sad and Beautiful World. Given that it was produced by Brad Cook, it’s not too surprising that its list of contributors includes MJ Lenderman, Waxahatchee’s Katie Crutchfield, and Bon Iver’s Justin Vernon, among others, but it’s still pretty sick. The first single is a wonderful rendition of Kevin Morby’s ‘Beautiful Strangers’. “It isn’t easy to put into words what it feels like having one of the best, most important vocalists and cultural figures of both the 20th and 21st century sing one of my songs,” Morby commented. “But hearing Mavis sing ‘Beautiful Strangers’ is hands down the greatest moment and highest honor of my career. Far beyond any kind of accolade or acclaim — having one of my biggest heroes sing something I wrote is the most validating and flattering thing that could ever happen to me as a songwriter and person. Thank you, Mavis. Mavis also wields that extremely rare power to take a song somebody else wrote and make it entirely her own. As the person who penned ‘Beautiful Strangers’, I feel I have every right to say: her version is better.”
Amanda Shires – ‘Piece of Mind’
Amanda Shires has shared ‘Piece of Mind’, a rowdy country-rocker from her new album Nobody’s Girl. “This one came when I was finally done being polite about pain,” she commented. “I wrote this song because I never got closure. ‘Piece of Mind’ became the place I said everything I didn’t get to say. Writing it gave me an ending. Not tidy. Not bitter. Just mine.”
Austra – ‘Math Equation’
Austra has announced her first album since 2020’s HiRUDiN. Chin Up Buttercup was inspired by the Eurodance sound of Madonna’s Ray of Light, which you can hear shining through its first single, ‘Math Equation’. The record is about “the alienating feeling of being heartbroken in a world that’s awkward and inconvenienced by your pain,” according to Katie Stelmanis.
Jordana – ‘Still Do’
Jordana has announced a new EP, Jordanaland, which she recorded with her friends Charlie Kilgore & Julian Kaufman of Michelle. It’s led by the instantly catchy yet cutting new single ‘Still Do’. “Jordanaland is definitely an escape from Americaland,” the artist explained. “It’s an oasis from the chaos, where tampons are free, everything is easy, and Luther Vandross is vice president. It looks a lot like LA in the videos… for some reason. Weird. But it’s wherever you want it to be, just close your eyes. Pop music was definitely the goal — self-assured, confident pop. I think the evolution came from becoming more comfortable with my voice, a more established sound, and also looking up to artists who let it all out in that way.”
Joan Shelley – ‘The Orchard’
Joan Shelley has unveiled ‘The Orchard’, another heart-rending track off her forthcoming album Real Warmth, following ‘Everybody’. The track features Doug Paisley on guitar, album producer Ben Whiteley on bass and mandolin, and his father Ken Whiteley on organ.
Golden Apples – ‘Freeeee’
Golden Apples have previewed their forthcoming album Shooting Star with a new track called ‘Freeeee’, which is knotty yet enveloping. “’Freeeee’ to me is a loose exploration of what it feels like to get lost and found within songwriting,” the group’s Russell Edling explained. “Sometimes it feels like swimming through space, just trying to maneuver through confusion and obstacles in order to break free and take off. Sometimes the process can feel oppressive and suffocating, only to turn on a dime and seem weightless and easy. The lyrics also reference a moment when I was taking a walk and listening to Deerhoof’s album Milk Man again after many years. At the time I was sort of frustrated and lost in my own creative tangles and that album got me back on the path again.”
S. Carey – ‘Watercress’
S. Care has announced a new EP, Watercress, sharing the ethereal title track. Out October 3, the EP was recorded with Zach Hanson and Brian Joseph and features guest vocals from Gia Margaret and Hannah Hebl. “The music video for the title track, ‘Watercress’ gave me chills upon first viewing,” the singer-songwriter explained. “Shot in Northwest Wisconsin, the place I call home, the images provide micro and macro views of the woods and waters that are so magical when you get up close and investigate. Just like a forest cut or burned, we all have the power to re-grow with the right care.”
runo plum – ‘Sickness’
Having recently signed to Winspear, runo plum has announced her debut album, patching, which will be released on November 14. Lead single ‘Sickness’ is achingly beautiful. “This song could be taken in many ways, literally or metaphorically,” plum reflected. “It’s about falling ill of many kinds, the common cold, perhaps lovesickness, but whatever it may be: you heal through it. This was the first song we worked on, and it came together really seamlessly.”
Wilby – ‘Care’
Wilby has released ‘Care’, a poignant new single from her debut album Center of Affection. “We’ve been playing it live for two years now,” Maria Crawford shared. “The first handful of times, I couldn’t make it through. It’s about the people I’ve hurt, and the pain of knowing that—even while giving them so much of myself. That tension is something I think we all feel. Most of us don’t mean to hurt each other—we’re just trying, imperfectly, to love.”
Taylor Swift and Travis Kelce, one of the most famous couples on the planet, have announced that they’re engaged. Swift, who announced her new album The Life of a Showgirl on Kelce’s podcast earlier this month, has been dating the Kansas City Chiefs tight end since 2023. On Instagram, Swift posted a number of engagement photos, writing in the caption, “Your English teacher and your gym teacher are getting married.” Neither Swift nor Kelce has previously been engaged to be married.
