“I’m turning Lorelei on her head in this song,” Zimmerman said in a statement about the track, which sees him trading off verses and harmonies with Adrianne Lenker. “Enough luring sailors on the river to their destruction. Time to head for the hills with a silver harp and bring some peace into the world.”
On October 18, Eternal Yip Eye Records/Thirty Tigers will release a collector’s edition reissue of Daniel Johnston’s 1991 album, Artistic Vice. The release includes heartfelt words from Johnston’s EYE Band bandmates, a lyric booklet with rare photos, colored peach and light blue vinyl, and a second LP featuring Artistic Vice outtakes, rehearsals, and previously unreleased songs that were meant for the original album. One of the unreleased tracks, ‘All Good Children Got to Die’, is out today alongside a visual produced by Fly Eye Media. Check it out below.
Artistic Vice Collector’s Edition Cover Artwork:
Artistic Vice Collector’s Edition Tracklist:
LP1 Tracklist:
1. My Life Is Starting Over
2. Honey I Sure Miss You
3. I Feel So High
4. A Ghostly Story
5. Tell Me Now
6. Easy Listening
7. I Know Casper
8. The Startling Facts
9. Hoping
10. It’s Got to Be Good
11. Happy Soul
12. The Dream Is Over
13. Love of My Life
14. I Killed the Monster
15. Laurie
16. Fate Will Get Done
LP2 Tracklist:
1. All Good Children Got To Die
2. Christian Martyrs
3. Easy Listening
4. I Know Casper
5. Penny Penny
6. You Said You Didn’t Really Love Me
7. Piano interlude
8. Happy Soul
9. Got To Be Good
10. It’s Over
11. Love of My Life
12. Something Fantastic Rolling Over My Soul
13. Boogie
14. I’ll Be Going Home Someday
15. Dead Dogs Eyeball (Variation)
16. Ego Trip
Youth Lagoon, the moniker of Idaho-based producer and composer Trevor Powers, is back with a new single. It’s called ‘My Beautiful Girl’, and it follows May’s ‘Lucy Takes a Picture’. Check it out via the accompanying video, directed by Regrets Only, below.
“Songwriting just feels like receiving messages from a portal and transcribing them,” Powers shared in a press release. “Some nights I’ll wake up at 3 am and words feel like they’re bludgeoning my skull with a baseball bat. Most times, I don’t even know what they mean. I don’t think I’m supposed to. It’s only my job to listen, be constant, and write them down. And if I’m not a faithful steward of that job, those words will find someone else who is.”
He added: “There’s a near-ghost town in western Idaho called Idaho City — about 30 minutes from home. I go there often to swim in the river, pray, and be alone in the country. Last time I went, I hiked through the cemetery (known as ‘Boothill’ ‘cuz of all the miners that died with their boots on) and saw a gravestone in darkness and dry weeds that said only, ‘My Beautiful Girl’. No name. No dates. Just love. Who was this beautiful girl? The portal opened, and I wrote down the message.”
Chicago-born singer, sound artist, and writer Mark Trecka (of Pillars and Tongues) has shared a new song, ‘Witch’s Hat’, which features vocals by Midwife. Doug Tesnow (An Heap) also plays synth on the track. Check it out below.
“‘Witch’s Hat’ is our Hallowe’en dream song, long wanting to be,” Trecka said in a statement. “I hope it can be of use to dreamers dreaming and celebrating the other side in this thinning veil season.”
Bicep are back with a new single, ‘CHROMA 007 STEALL’, a collaboration with fellow Belfast native Hammer. Released as part of Bicep’s CHROMA project, which encompasses a record label, a series of events, and a constantly evolving AV/DJ show, the track marks the first time the childhood friends have worked on music together since 2015’s Dahlia EP. Give it a listen below.
Walking Disaster: My Life Through Heaven and Hell, the first memoir by Deryck Whibley of Sum 41, is out today (October 8). In an interview with the LA Times, the frontman discussed the book’s allegations of sexual and verbal abuse against Treble Charger vocalist Greig Nori, who was Sum 41’s former manager.
Whibley started working with Nori when Whibley was 16 and Nori was 34. Nori had been a hometown hero to Whibley, and he became the first person to serve Whibley and his bandmates alcohol. Whibley claims that, when he was 18 and intoxicated at a rave, Nori grabbed his face and “passionately” kissed him while they were in a bathroom stall doing ecstasy. Whibley says that he was stunned and that Nori claimed that he had never experienced same-sex attraction, but that what the two of them had “was so special.”
Whibley claims that Nori persuaded him to explore what they had because “so many of my rock star idols were queer. … Most people are bisexual; they’re just too afraid to admit it.” When Whibley tried to end things, Nori would allegedly accuse him of being homophobic and said that Whibley “owed” him for helping the band’s career.
Whibley told LA Times he never told anyone about his relationship with Nori. When Whibley started dating Avril Lavigne in 2004, he opened up to her and she said, “That’s abuse! He sexually abused you.” Whibley said that his current wife, Ariana Cooper, had the same reaction.
Whibley writes that the sexual encounters stopped after a mutual friend discovered what was happening and said that it was abusive. According to Whibley, however, the psychological and verbal abuse continued, with Nori insisting on being credited as a co-writer on most of Sum 41’s songs, claiming that the music industry would take them more seriously if he was involved. In 2018, Whibley reportedly won back a share of ghostwritten copyrights from Nori in an out-of-court settlement.
Nori also allegedly discouraged the members of the band from being in touch with their own parents. “He wouldn’t let our parents know anything,” Whibley told LA Times. “He tried to keep them away all the time. Now it makes more sense. Because he was the same age as our parents, and we didn’t know that at the time. He knew they would get suspicious of the way things were running. … He would always be like, ‘You can’t have a relationship with your parents and be in a rock band. It’s not cool. It’s going to hurt your career.’”
Sum 41 fired Nori in 2005. Speaking with Toronto Star, Whibley said that Nori has yet to read the book. About his decision to come forward, Whibley said, “You can’t sue [someone] for telling the truth. If he wants to challenge it, I welcome that. Let’s go to court. Let’s go under oath. That would be fucking great! I welcome that part. Let’s get into discovery. I’ll have my lawyers grill you. They can grill me all they want. I mean, that would be fucking perfect! Finally, let’s get it on record!”
Nell Smith, the Canadian teenage music prodigy who collaborated with the Flaming Lips when she was just 14, has died. Cocteau Twins’ Simon Raymonde, whose label Bella Union had signed Smith and was preparing to release her debut solo album next year, confirmed the musician’s death in an Instagram post. No cause of death has been announced, although, paying tribute to Smith during the Flaming Lips’ concert in Portland on Sunday night, frontman Wayne Coyne said that she “was killed in a car accident.” Smith was 17.
Smith was born in the UK but moved to Canada during her childhood. She met Coyne after her parents took her to the band’s 2018 headlining show in Calgary, and the band kept noticing the then-12-year-old dressed as a parrot in the front row. They stayed in touch as Smith learned guitar and began writing her own songs, and, during the pandemic, collaborated remotely to record an album of Nick Cave covers. Where the Viaduct Loomscame out in November 2021.
Following the collaboration, Smith launched a Kickstarter campaign to help fund her debut album of original material and eventually reached her campaign goal. “I have always loved music and started writing some of the songs that will be on this album when I was 12, seeing them come to life is really exciting,” Smith said at the time.
“We are all shocked and devastated to hear of the sudden and tragic passing of our artist and dear friend Nell Smith, over the weekend in British Columbia,” Raymonde wrote in a statement. “Nell was just 17 and was preparing for the release of her first solo record in early 2025 on Bella Union, made in Brighton with Penelope Isles’ Jack and Lily Wolter. Her first release was an album of covers of Nick Cave songs recorded with fellow Bella Union artistes The Flaming Lips back in 2021 entitled, Where The Viaduct Looms.”
Raymonde added: “While we all try and come to terms with the awful news, and out of respect to Nell’s grieving family, we are unable to make any further comments at this time. The Bella Union Family.”
Chronic skin disorders affect millions of individuals globally, lowering their quality of life. These conditions often cause pain, emotional suffering, and long-term symptoms that traditional treatments may not fully resolve. However, dermatological advances have made newer medicines more accessible and boosted long-term care hopes. Medical technology is improving treatments for these diseases, from light-based therapy to regenerative medicine.
New topical therapy developments
Topical drug development is skincare’s brightest future. Improved medicine delivery systems allow active compounds to reach deeper skin layers and provide stronger comfort. Doctors use conventional and innovative corticosteroids to treat psoriasis, eczema, and rare diseases like lichen sclerosus. Modern lichen sclerosis treatments often involve immunomodulators and regenerative medications to reduce inflammation and improve healing. This combination reduces flare-ups and progressively restores skin integrity.
Phototherapy and laser technology
Light-based phototherapy is another treatment advancement. Technology has made UV light therapies for vitiligo and psoriasis more advanced. Excimer lasers and narrowband UVB therapy protect healthy skin with targeted action. These advances allow patients to receive more targeted treatment. Lasers can also eradicate blemishes and even skin tone for chronic pigmentation disorders. Laser technology may help treat severe, unresponsive ailments.
Regenerative medicine and biotherapeutics
Biologic medications have revolutionised regenerative medicine. Life-based biologics target immune system components that induce inflammation. By modulating immune responses, biologics can cure long-term conditions like eczema, psoriasis, and lupus. These precise treatments have fewer side effects than typical systemic drugs, making them a good long-term choice. Stem cell therapies are also being studied to help patients with chronic skin problems regenerate and heal their skin.
The role of personalised medicine
Chronic skin problems increasingly require customisation. As molecular biology and genetic research advance, dermatologists abandon a one-size-fits-all approach. Genetics, lifestyle, and triggers are considered in personalised medicine to create a more targeted and effective treatment approach. Patients with chronic skin problems may have complicated symptoms; therefore, personalised therapy addresses them. Genetic testing can discover immunological or inflammatory pathways that can be treated with specific medications or lifestyle adjustments. This individualised treatment approach is especially important for disorders like atopic dermatitis, where flare-ups might have many causes. Integrating holistic approaches to skin care
Many chronic skin sufferers find relief with holistic therapy and medical treatments. These methods target skin and body health, including symptoms and underlying reasons like stress, food, and the environment—mindfulness, yoga, and acupuncture lower stress, which can cause eczema and psoriasis flare-ups. Anti-inflammatory diets rich in antioxidants, omega-3 fatty acids, and probiotics have also been added to treatment plans to support skin health from the inside out. These holistic therapies and medical treatments offer a more comprehensive and long-term solution for chronic skin diseases.
Conclusion
Dermatological discoveries offer hope for long-term skin problems, which can affect a person’s life. Advanced biologics, personalised medicine, topical therapies, and laser technology are growing. Medical advances give patients additional alternatives, comfort, and skin condition management, but no single treatment works for everyone. This is a key step towards long-term relief for chronic skin condition sufferers.
Gambling, defined as the practice of risking something of value on the outcome of an uncertain event, has been a part of human culture for millennia. From its origins in ancient Egypt to its contemporary manifestation in casinos, gambling has undergone significant evolution, reflecting shifts in societal norms, technological developments, and cultural influences. For those seeking a reliable and reputable online casino for their preferred games, 7bit casino login is an excellent option to explore this gambling option.
Ancient Origins
The earliest evidence of gambling can be traced back to ancient Egypt, where the discovery of dice-like objects in tombs provides a compelling indication of the practice’s antiquity. It is thought that gambling was a common pastime among the pharaohs and their court. Similarly, gambling was also prevalent in ancient Rome, with games such as dice, cards, and chariot races being particularly popular.
The Middle Ages and Renaissance
In the Middle Ages, gambling was frequently linked to religious festivals and fairs. Games such as dice, cards, and cockfighting were prevalent. Nevertheless, the Church frequently denounced gambling as a sinful practice.
The Renaissance marked a resurgence of gambling, with the advent of new games such as poker and blackjack. Gambling houses became a common feature of urban life, and the practice of gambling spread rapidly across Europe.
The Industrial Revolution and the Modern Era
The Industrial Revolution constituted a significant turning point in social history, giving rise to the emergence of the middle class and the expansion of urban areas. Gambling became more accessible and popular among the working class. The advent of the slot machine in the late nineteenth century served to accelerate the expansion of the gambling industry. In the 20th century, the legalisation of gambling in numerous jurisdictions worldwide resulted in the establishment of casinos and racetracks. The advent of online gambling in the late 20th and early 21st centuries marked a pivotal turning point in the industry, significantly enhancing accessibility and convenience for players. In the modern era, https://7-bit-casino.com/ allows users to enjoy slots and other gambling entertainment from the comfort of their homes, reflecting the continued evolution of the industry in the digital age.
The Impact of Gambling on Society
The influence of gambling on society has been significant throughout history. It has served as a source of entertainment, social interaction, and economic activity. Nevertheless, gambling has also been linked to a number of problematic outcomes, including addiction, criminal activity and financial devastation.
In recent years, there has been a growing awareness of the potential harms associated with gambling. In response to these concerns, governments and organisations have implemented measures designed to protect vulnerable individuals and promote responsible gambling practices.
To this day, gambling continues to be a prevalent pastime for a considerable number of individuals across the globe. Regardless of whether one is engaged in poker at a casino or attempting to win at an online slot machine, it is of the utmost importance to gamble responsibly and to derive enjoyment from the experience.
One of the most surprising moments on Wild Pink‘s 2022 effort ILYSM was ‘Sucking on the Birdshot’, its avalanche of sludgy, distorted guitars sounding all the more dissonant on a record of profound tenderness and intimacy. Frontman John Ross finished writing the album after being diagnosed with cancer, and having since recovered, the focus of his songs seems to be on “moving on,” as he sings on the title track of its follow-up, “like the cold wind blows/ Like a train in the snow.” It should come as no surprise, then, that an experimental outlier on ILYSM ends up informing the primary mode of Dulling the Horns, at least when it comes to the guitars, which sound remarkably blown-out, massive, and crunchy. (Ross cites Weezer’s The Green Album as a reference point for him and Justin Pizzoferrato, who engineered the LP. Wednesday/Indigo De Souza/Hotline TNT collaborator Alex Farrar, who mixed it, certainly knows how to make fuzz sound good, too.) There’s an element of strain, of towering through bad weather, in the way a baritone guitar drudges the songs forward; Ross makes them sparkle regardless.
It’s this struggle to move along, to capture light, that marks Dulling the Horns rather than being resolutely “on the other side of it all,” as a press bio puts it. “I’m always searching,” Ross declares on the opener, ‘The Fences of Stonehenge’, grasping onto a sense of hope while sounding worn-out by rock platitudes: “The light comes from a million miles away/ And we get a little every day.” Ross’ lyrical lens on the title track begins romantically, with him observing the slow spread of the moon down the horizon, before finally and comically despairing, “How can there be/ Really nothing in between/ That big ass moon and me?” For all the crispness of the production, he’s in a perpetual state of confusion and exhaustion, cycling through foggy mornings and bottomless nights “because,” he figures on the visceral ‘Cloud or Mountain’, “waking up is how the trouble gets in.” He lays out the pattern again on the title track: “You put yourself to sleep when you weren’t even tired/ Slept too much now you’re wired/ You had too much when just enough/ Is an act of defiance.”
Ross is perfectly aware of how this weariness can seep into the music, recognizing that it’s now coming from a different place than when “a song came free with each new instrument.” Sonically, even beyond the guitars, he hardly pulls back, continuing his streak of albums that sound immense and luscious, with gorgeously dreamy contributions from Adam Schatz on saxophone, Mike ‘slo mo’ Brenner on pedal steel, and David Moore on piano. But the additional instrumentation is not just about adding beauty, whether it’s mirroring the blurry chaos at the end of ‘Disintegrate’ or the knotty truths of ‘Sprinter Brain’. When Ross does seem to get tired of a particular song idea, he doesn’t have the impulse to water it down or build it up, but rather stitches another one in: when he runs out of words on ‘The Fences of Stonehenge’, he opens the song up with a riff that barely lasts a few seconds yet remains one of the most memorable on the record. The final track, ‘Rung Cold’, spins through several ideas before landing on the one that leaves the strongest impact.
It’s evocative of the line that closes the opening track: “Made a life out of a detour.” In similar but more ironic fashion, the penultimate ‘Bonnie One’, which literally describes a dream Ross had about his friend Ryley (presumably Walker, who contributed to ILYSM), calls back to a lyric from ‘Eating the Egg Whole’: “Sometimes a dream ain’t meant to be lived in, it’s meant to be forgotten.” (‘Bonnie One’, which is under two minutes, could easily be forgotten were it not for Libby Weitnauer’s sprightly fiddle.) Dulling the Horns isn’t Ross emerging from hardship with a sense of clarity, but it’s in this frayed, listless, uneasy space that he manages to be both gritty and playful, letting in a whole song about the history of Dracula (and one of the funniest you’ll hear on the subject). And the relative aimlessness of the album doesn’t prevent him from homing in something poignant, like when he guesses, “There must be a long ass German word/ For when you’ve destroyed something good/ Something you used to love/ But had to let go of.” Dulling the Horns bears the weight of the destruction, but it’s also the sound of letting go.
