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Incredible Wins That Changed Lives

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Incredible Wins That Changed Lives

Casinos have long been associated with thrilling moments, exciting games, and life-changing jackpots. Whether in a land-based casino or an online platform, players around the world have experienced extraordinary luck, turning small bets into massive fortunes. We will explore some of the most remarkable casino lucky stories while highlighting the appeal and excitement of online casinos.

The Thrill of Online Casinos

Online casinos have revolutionized the gambling industry by offering players the chance to experience the excitement of casino gaming from the comfort of their homes. With thousands of games available, including slots, blackjack, poker, and roulette, players have endless opportunities to test their luck and potentially win big. Progressive jackpots, massive bonuses, and innovative gameplay have made online casinos more appealing than ever.

Unbelievable Casino Wins

  1. The Biggest Online Slot Jackpot – One of the most famous online casino wins occurred when a British player won an astonishing €17.8 million playing Mega Moolah, a progressive jackpot slot. The lucky player had placed a small bet and was stunned to see their life change in an instant.
  2. A $39 Million Vegas Miracle – While this win happened in a land-based casino, it is one of the most legendary gambling stories. A software engineer in Las Vegas won nearly $39.7 million on a Megabucks slot machine, setting a record for the biggest slot jackpot ever.
  3. Turning $5 into $4 Million – A man in Finland casually played an online slot game with a mere €5 bet and ended up winning a life-changing €4 million. This win further proves that luck can strike at any time, even with the smallest wagers.
  4. The Poker Prodigy – An online poker player, who started playing with free chips, gradually built his skills and bankroll over time. Eventually, he entered a high-stakes tournament and walked away with over $2 million in winnings, proving that strategy and patience can pay off in online casinos.
  5. The Lucky Roulette Bet – A businessman once walked into a casino and placed his first-ever bet on a single number in roulette. To his surprise, the ball landed on his chosen number, and he walked away with over $500,000 in winnings in just a few seconds.

Why Online Casinos Are So Popular

  • Convenience – Players can enjoy their favorite games from anywhere, at any time, without needing to travel to a physical casino.
  • Bonuses and Promotions – Online casinos offer generous welcome bonuses, free spins, and loyalty rewards, increasing players’ chances of winning.
  • Game Variety – With thousands of games available, players can choose from classic table games, exciting slots, and live dealer games for an immersive experience.
  • Progressive Jackpots – Many online casino games feature jackpots that continue to grow until a lucky player wins, sometimes reaching millions of dollars.

Conclusion

Casino lucky stories remind us that anything is possible when playing online casino games. While winning life-changing amounts of money is rare, these incredible stories highlight the excitement and unpredictability of online gambling. With the convenience, variety, and potential rewards of online casinos, players continue to be drawn to the thrilling world of betting. As always, responsible gambling is key to ensuring an enjoyable and positive experience.

Most Successful Online Bets

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Most Successful Online Bets

Online betting has become a global phenomenon, offering players thrilling opportunities to place wagers on sports, casino games, and even unconventional events. With the rise of digital platforms, placing bets has never been easier, and some players have turned small stakes into life-changing sums. In this essay, we will explore some of the most successful online bets, the advantages of online betting, and the positive impact it has had on the gambling industry.

Unbelievable Wins: From Small Bets to Fortune

While many bettors dream of hitting the jackpot, a few lucky individuals have managed to turn modest wagers into massive payouts. Here are some of the most remarkable online betting wins:

  • The $0.25 Millionaire – A lucky online casino player placed a $0.25 bet on a progressive jackpot slot and walked away with over $20 million, proving that even the smallest stakes can lead to astronomical wins.
  • The 5,000-1 Leicester City Miracle – In 2016, an online bettor placed a mere £20 bet on Leicester City to win the English Premier League at 5,000-1 odds. The underdog team made history, and the bettor won £100,000, one of the most famous sports betting wins ever.
  • The $100 Poker Mastermind – An online poker player entered a $100 buy-in tournament and skillfully maneuvered through thousands of competitors to win over $2 million in prize money.

These stories showcase the unpredictability and excitement of online betting, where strategy, luck, and smart decision-making can yield astonishing results.

Advantages of Online Betting

Online betting has transformed the gambling industry in numerous ways, making it more accessible, engaging, and rewarding for players. Here are some key benefits:

  • Convenience – Unlike traditional betting venues, online platforms are available 24/7, allowing players to place bets from anywhere in the world using their smartphones, tablets, or computers.
  • Variety of Options – Online betting platforms offer a vast range of markets, from sports betting to live casino games and eSports, catering to different interests and skill levels.
  • Bonuses and Promotions – Online bookmakers and casinos provide generous bonuses, such as free bets, cashback offers, and deposit matches, giving players added value for their wagers.
  • Live Betting and Cash-Out Options – The ability to place bets in real-time and cash out early adds an extra layer of excitement and strategy to online betting.

Interesting Facts About Online Betting

  • The online gambling industry is expected to surpass $100 billion by 2025 due to increasing accessibility and innovation.
  • One of the largest-ever online sports betting wins was a $14 million payout on a single bet.
  • Some online platforms allow players to bet on unusual events, including the outcomes of reality TV shows and political elections.
  • Cryptocurrency betting is gaining popularity, providing faster and more secure transactions for online gamblers worldwide.

Conclusion

Online betting has evolved into an exciting and dynamic industry, offering players a chance to experience thrilling wins from the comfort of their homes. While luck plays a role, successful betting often involves strategy, research, and calculated risks. As the industry continues to grow, online platforms provide a safe and enjoyable way for players to engage with their favorite sports, casino games, and betting markets. However, responsible gambling remains essential, ensuring that betting remains a fun and positive experience for all.

Album Review: L.A. Witch, ‘DOGGOD’

Vida Hasson
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Album Review: L.A. Witch, ‘DOGGOD’

L.A. Witch’s sound conjures the image of the three witches, the weird sisters, in Shakespeare’s Macbeth: Pai the thunder, English the lighting, and Sanchez the rain. Their allure is spooky and titillating, compelling the listener to bang their head with the power of ancient witches, especially the ones whose spirits wander the streets of Los Angeles, where the band calls home. DOGGOD, the band’s third studio album, the final contribution to this echoey triptych that has been their discography, abundant with reverb that bounces around the paved bed of the Los Angeles River, manipulates, toys with, and teases the theme of domination versus submission. Who is the God here, and who is the Dog? Each song stabs at the answer. A few words repeat throughout the album, namely “distress” and “forlorn,” embodying the themes of an album full of yearning desire, not above dying in the pursuit of love in all its power.

1. Icicle

For an album that revels in paradoxes (i.e. dog/god, distressed/calm, dominate/submit, dream/reality, king/queen), it only makes sense that the first song of the album opens with a lyrical contradiction: “Icicle, won’t you cleanse my soul/ You are sharp and cold/ Purity come make me bleed.” Purification through mutilation, a taunting and bloody idea suggested over the psychedelic/gothic cumbia pluck of the guitar, establishes the album as one of affliction and release.

2. Kiss Me Deep

‘Kiss Me Deep’ plays with the rhythmic continuity of a train rolling over its tracks, the guitar playing a chugga-chugga over the bass while the drums dance on the cymbal and snare. The song possesses a kind of dark, deep dark loyalty to love and desire: “You love me like a precious dog/ You licked me like a hungry dog.” Perhaps there is power in being a dog, content in its position of subservience as long as it remains beloved. A notable mention in ‘Kiss Me Deep’ is “gallows,” perhaps a nod to the murdered witches after which the band takes its name. This connection between the women who were condemned as witches and modern women, an inheritance of punishment, lasts in “every life,” but thankfully so does being kissed.

3. 777

The album picks up pace in ‘777’, a number considered angelic and related to the pursuit of love and suffering for it. Sanchez sings her lo-fi croon as the drums march along like an army of angels, ready to kill for love, like the gothic/horror divine this song is, as it depicts lovers lying prostrate on the floor like a “wounded warrior” or “forlorn soldier.” If the previous song revels in being a dog, this one remains weary of being on top. The lyrics provoke “Does glory lead to our demise?” as the guitar plucks like a lonely wind chime and only the drums are heard in accompaniment.

4. I Hunt You Pray

The Dog/God paradox reaches a particularly macabre mood in ‘I Hunt You Pray’. Darkness haunts Sanchez’s vocals, which drone like a very dreary huntress crawling across a dirty pub floor, tired of waiting for affection. The homophone in the title “I hunt you pray” could also be heard as “I hunt you prey,” the second of which sounds slightly more menacing. She repeats that line with a pause between you and pray, playing with our ears even further, reveling in inexactitude, the liminal space between the hunter and hunted, dog and god. Towards the end of the song, an ethereal synthesizer mingles with the guitar, bass, and drums, like an elucidatory light growing brighter and louder, stealing the song from the vocals, which perhaps has become its own kind of prey to the music.

5. Eyes of Love

With a folkier twist, ‘Eyes of Love’ takes some respite from dark desire turning into a shimmering reflection. Talk of revelations and biblical imagery, like a crown of thorns, “Heaven in your eyes,” “consecrate your beauty and power,” and the album cover of two hands clasped in a prayer position around a dagger (not unlike the cross-shaped dagger Macbeth used to kill King Banquo) evokes the spirituality of love. If these eyes of love can cast a glance of affection, they can also devour.

6. THE LINES

At the outset of this song, Pai’s hypotonic style of bass sounds like its sister instrument, the cello, making the song exude a genre-bending post-punk and gothic sound. The lyrics reach a poetic altitude, as Sachez’s vocals trace ambivalent, invisible lines. An organ intercedes with an ethereal hum as the guitar plays through a smoke-filled room. English on drums acts as glue, turning the song into a sermon one might hear performed at the church of L.A. Witch.

7. Lost at the Sea

A scenic drive up the 101, a California road trip, an ol’ timey ghost town, this song slows down as guitar plays a gentle strum, the drums tick a melody like an ambivalent clock, and the vocals speak of “the sirens sing” and “songs of deities,” two images of womanhood and seduction. Sirens, seabound mermaid creatures in Greek mythology known to drag sailors to their death, mix their noise with deities, demanding to be heard. Cosmic power draws two ships, two lovers, together, but one without the other causes sails to drift. When this happens, the vocals become lost at sea, appearing sparsely between the guitar and synthesizer’s melodies.

8. DOGGOD

The surf rock sound that originated in Southern California claims its spot on the beach in the album’s titular track, surfing the waves that were once looked at longingly, and now are being ridden with glee. ‘DOGGOD’ revels in submission: “Want me to be down at your feet/ I beg and cry for my relief,” and finds power in a lower position. Sanchez has made a symbolic connection between women and dogs, their shared perceived subservient positions in society, but that is the power of the palindrome, the meaning changes based on perspective.

9. SOS

This album rocks, floating up and down across the desert sea, jerking with the tide, going out with a bang. ‘SOS’ rises from the bottom of the ocean to the surface “where it’s not that deep blue.” This song closes the album by evoking the first song. Instead of an icicle, frozen in time, dripping with potential danger, ‘SOS’ is a hanging on an iceberg. There is a religious element to this roundabout conclusion, like the second-coming of a chunk of ice, but in a stronger and deeper, although not less deadly, form. Sanchez’s vocals rise to a yell, like a coming wave, shouting “may date may date,” and for “deliverance,” then falls, overtaken by the band’s crescendo, ending with an echo like this whole album is just a memory, stuck in your head, a mirage indeed.

8 Albums Out Today to Listen to: Black Country, New Road, The Ophelias, Florist, and More

Konstantinos Pappis
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8 Albums Out Today to Listen to: Black Country, New Road, The Ophelias, Florist, and More

In this segment, we showcase the most notable albums out each week. Here are the albums out on April 4, 2025:

Black Country, New Road, Forever Howlong

Black Country, New Road have released Forever Howlong, their first studio album following the departure of frontman Isaac Wood. With bassist Tyler Hyde, May Kershaw, and Georgia Ellery trading lead vocals, the band’s third LP achieves a different kind of complexity – and uplift – by dividing itself through each member’s songwriting inclinations. It was previewed by the singles ‘Besties’, ‘Happy Birthday’, and ‘For the Cold Country’.

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The Ophelias, Spring Grove

The Ophelias are back with a new album, the Julien Baker-produced Spring Grove. They tracked the album over ten days at Young Avenue Sound in Memphis in 2021, the year after the release of their last album Crocus. “It feels like the completion of a years-long aim,” vocalist Spencer Peppet said in our interview. “And I think that a lot of that was just finally knowing what we wanted and being able to say that the guitar should sound so crunchy, or it should be more guitar-led, or have really forward bass, or keep the violin kind of on the lower end of the notes until we get to this one part. It feels like we locked in with what we wanted and were able to really do it for real.”

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Florist, Jellywish

New York indie-folk outfit Florist have unveiled their fifth studio album, Jellywish, which homes in on the tender minimalism and escapism of their previous work. “Jellywish believes in the incredible magic within us and around us here in this reality, and the potential for a beautiful and symbiotic Earth if we do not turn away from what is evil but instead challenge it and stand up for what is not,” bandleader Emily Sprague explained. “It is meant to be a gentle but firm nudge to think about, and deconstruct the parts of our world which do not serve us all equitably; systems of power and control which can harm, destroy, box us in to ridiculous constructs, and take away anyone or anything’s right to a free and happy life. From the self to the collective consciousness, Jellywish asks us to look inside, outside, every which side, to remember love and empathy, caregiving, and the vigilant rejection of systemic harm towards our planet and the beings inhabiting it.”

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Jane Remover, Revengeseekerz

Jane Remover‘s Revengeseekerz, which never got a proper release date, has arrived. JR wrote, performed recorded, mixed, and mastered in the record Chicago this winter, and it’s a blast all the way through. The follow-up to 2023’s Census Designated features the early singles ‘JRJRJR’ and ‘Dancing With Your Eyes Closed’, as well as a guest spot from Detroit rapper Danny Brown on the frenzied ‘Psychoboost’. “The radio I sleep to glitches, my dreams give me nausea,” the artist sings on ‘Fadeoutz’, capturing the ethos of the record. “Stumbling at the show, fans walking in on me vomiting.”

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Lily Seabird, Trash Mountain

Lily Seabird’s stunning new album, Trash Mountain, is named after a pink house sitting on a decommissioned landfill site at the back of Burlington’s Old North End, which the singer-songwriter has called home for several years now. “I was just singing out thinking about that – a place that could have so much beauty to me, and so much sense of community, but then it has that name,” Seabird said in our Artist Spotlight interview. “I’d be constantly thinking about the climate crisis and pollution and late-stage capitalism, just the state of the world, and I sing a lot about – this time of year, all the garbage people have thrown on the side of the road comes out of the snow and is just there. So there’s lots of trash around, and it just seems like a palpable metaphor to me.”

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DJ Koze, Music Can Hear Us 

DJ Koze has released Music Can Hear Us, his first album in seven years, via his imprint Pampa Records. Described as “a 64-minute return trip to space,” the playful, idiosyncratic, and at times pensive follow-up to 2018’s Knock Knock features guest appearances from Damon Albarn, Sofia Kourtesis, Soap&Skin, Ada, Sophia Kennedy, the Notwist’s Markus Acher, and Marewrew.

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Sleigh Bells, Bunky Becky Birthday Boy

Sleigh Bells have returned as rambunctious and bombastic as ever with Bunky Becky Birthday Boy, their first album in over three years, and as to the title. “‘Bunky Becky’ was a nickname for Alexis’ dog Riz, who passed away in December 2023,” Derek Miller explained in a statement. “When she passed away, Alexis and I had been talking about writing an anthem for her. And then Alexis’ son Wilder was born, and he’s the birthday boy. Even though the title sounds a little ridiculous – and it’s totally okay to laugh at it — with a little bit of context, it’s actually life and death. We lost somebody that we love, and we gained somebody that we love.”

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Craig Finn, Always Been

The Hold Steady bandleader Craig Finn has released Always Been, a shimmering embrace of an album that was produced by Adam Granduciel of the War on Drugs. Kathleen Edwards and Sam Fender also contribute vocals on the LP, which follows 2022’s A Legacy of Rentals. “I believe this to be the most narrative record I have made,” Finn said in a press release. “Most songs concern a protagonist who pursued a career as a clergyman despite a lack of faith. The record tells the story of his rise and fall and redemption.”

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Other albums out today:

Scowl, Are We All Angels; The Waterboys, Life, Death and Dennis Hopper; David Longstreth, Dirty Projectors & Stargaze, Song of the Earth; Djo, The Crux; L.A. Witch, Doggod; duendita, A Strong Desire to Survive; Barker, Stochastic Drift; Chy Cartier, No Bring Ins; Marlon Williams, Te Whare Tīwekaweka; Sister Ray, Believer; Walt McClements, On a Painted Ocean.

Tianyi Ren: Between Speculation and Reality—A New Dimension of Interactive Art

Abbie Wilson
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Tianyi Ren: Between Speculation and Reality—A New Dimension of Interactive Art

In the evolving landscape of contemporary art, where technology, environmental consciousness, and social critique collide, Tianyi Ren responds with profound inquiry. A London-based Chinese Tibetan multidisciplinary artist, Tianyi Ren’s works exists at the nexus of speculative fiction, environmental sustainability, and anthropology, offering not just commentary but immersive experiences that demand participation.

Reshaping the Narrative: Art as an Interactive System

Tianyi’s art is neither static nor passive. It is a living system of exchange, where digital and physical realities blend seamlessly, compelling audiences to engage with complex themes. Her background in interaction design and visual communication manifests in installations that act as speculative worlds—realities that might exist but are yet to be fully realized.

Take, for example, “Takakia”, an interactive installation that extends beyond aesthetic experience into ecological advocacy. Named after a rare moss species on the brink of extinction in the Tibetan Plateau, the work harnesses climate data (1960-2050) to generate real-time visuals via TouchDesigner, which are then projected onto live moss. The integration of Arduino sensors transforms audience interaction into a visceral confrontation with environmental fragility—a poetic yet urgent plea for climate awareness.

This interplay between human agency and natural vulnerability is a recurring theme in Tianyi Ren’s work. “Ripple Effect” similarly explores human impact on the environment by visualizing global oil spills, where audience movement dictates the spread of pollution. “The Invisible Hand”, on the other hand, takes a socio-political turn, using projection mapping onto sand to illustrate the unseen forces that shape societal behavior—be it economic, political, or ideological.

Navigating Identity and Freedom: A Personal Reckoning

As a Chinese Tibetan artist based in the UK, Tianyi Ren’s exploration of identity, heritage, and personal freedom is deeply intimate yet universally resonant. Nowhere is this more evident than in “Tangled Freedom”, a photographic series set in a small Tibetan temple near Mount Kailash. The work juxtaposes the symbolism of prayer flags—representing spiritual aspirations—with the artist’s personal struggle for liberation. Here, Ren navigates the duality of tradition and autonomy, questioning whether religious and cultural structures serve as pathways to self-discovery or entanglements that restrict agency.

This tension between belief and autonomy echoes in “Truth?”, an installation that manipulates visual perception to question subjective realities. Lines distort spatial awareness, mirroring the biases and preconceptions that cloud human understanding. In this, Ren articulates a powerful critique of epistemology, cultural conditioning, and the limits of human perception.

Beyond Speculation: Towards a Participatory Future

Tianyi Ren’s work is not about answering questions but provoking new ways of seeing, questioning, and participating. Through the fusion of data-driven aesthetics, technological interaction, and philosophical critique, she challenges the boundaries between observer and participant, nature and machine, tradition and progress.

In a world increasingly defined by artificial intelligence, climate precarity, and socio-political flux, Tianyi Ren’s speculative art does not merely mirror reality—it alters it. In doing so, she offers a vital blueprint for engagement, urging us to consider our roles not just as passive spectators but as active agents in the construction of the future. 

Fans and Critics React to Drake and PartyNextDoor’s R&B Album

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Fans and Critics React to Drake and PartyNextDoor’s R&B Album

Drake dropped his new album, $ome $exy $ongs 4 U ($$$4U) alongside PartyNextDoor over a month ago, but fans aren’t feeling it and have been all over social media letting everyone know what they think.

The new album dropped on Friday the 14th and one fan on X, couldn’t help but say, “Drake dropping a “sexy-themed” album on Valentine’s Day is such a Drake thing to do”, and we can’t agree more.

In this article, we cover information surrounding the latest album release by the two OVO artists and what fans and critics alike are saying online.

While many concluded that the rap feud is over, it seems that the “6 god” is not done especially now that Kendrick Lamar performed at the Super Bowl.

The Canadian rapper loves high stakes ventures

Drake has never shied away from high-stakes ventures, whether in music, business or even gambling. The Canadian rapper is known for placing massive bets across various sports with some losses making more headlines than his wins.

He has also expressed his love for slot machines and called them his favorite casino games. With his bold approach to risk-taking, it wouldn’t be surprising if he enjoys the kind of massive high-roller casino bonuses featured under a source like Bonus Focus.

However, we bet he has never enjoyed any moment of the rap beef which he lost terribly against the kid from Compton, aka Kendrick Lamar.

The 2024 rap beef was considered another high-stakes venture for the 38-year-old where he had a lot to loose. He put his career on the line when he decided to go head-to-head with one of the most influential hip-hop artists of our generation.

Considering Kendrick’s success over the past few months, it appears that Drizzy has much more to do than dropping what fans described as a “garbage” album.

What fans and critics are saying about Drake and PND’s $$$4U

Drake’s latest collaboration with PartyNextDoor, “$ome $exy $ongs 4 U” is his first major work since he dropped “For All the Dogs” (FATD) in 2023. The album received fans´ mixed reactions on social media where they expressed their opinions.

One user on X blatantly said, “Jokes apart, this is really below the par Kendrick Lamar set.”  “Zero Replay value. Why do they sound the same in all of the songs, no creativity,” they added.

Disgruntled listeners reported on Reddit expressing their frustrations, with one user saying that besides 2 or 3 songs, the rest was “Zzz.” Echoing the sentiment, another user commented that the album was “meh.”

The user added that it had some good tracks but was mostly bland and suggested that Drake needs to edit his albums better because, as it stands, it’s “really just samey samey and uninspired for the majority of the run time.”

Another critic didn’t hold back, stating that the music was genuinely some of the most horrible non-gimmick music they’d heard and questioned how people online could defend it.

Adding to the criticism, another person remarked that the album deserved an “A–” grade, indicating it was always going to be low effort and garbage. Yet another disappointed listener expressed a preference for cinematic punishment over the music, saying they’d rather watch “The Matrix 3” than listen to 70 minutes of Drake.

Podcast reviews engaged with fans and started comparing the 21-track project to some of Drake’s collab albums. “What A Time To Be Alive” with Future was branded a classic, “Her Loss” with “21 Savage” was declared the best in terms of lyrics, and $$$4U with PND received the most versatile tag.

Commenting under NFR Podcast’s post, one staunch fan of the 6 mentioned that Reports reveal that  “$$$4u really felt like that breath of fresh air for Drake, he got back in that old Drake bag and that’s what I wanted from him, it’s got some of his best R&B performances this decade thus far and it gets better with every listen.”

He concluded with double exclamation marks alongside a 100 emoji. Other than that, most of the fans were quick to label the R&B/Soul album as trash.

Final thoughts

We wonder what Drake must be feeling now when he lost the rap beef, Kendrick Sweeping the Grammy’s with “Not Like Us”, and going ahead to perform it at the Super Bowl Halftime Show.

Having the whole stadium scream the lyrics (“Tryna strike a chord and it’s probably A-minor”) of the song that gave KDot the victory lap in the hip-hop war while Serena William’s crip walked in the background was quite insane!

As if that wasn’t enough, Kendrick is now the first rapper to cross over 100M monthly listeners in Spotify history thanks to his latest release album “GNX” which is aging like fine wine while denying Drake’s new project the attention it could have gotten if he haven´t chosen to enter a rap beef.

As Mr. Duckworth put it during his halftime performance, Drizzy chose the right time but the wrong person to battle with. It remains to be seen whether Drake will be able to bounce back and regain some of the favor and commercial success he has now lost in the hip-hop world.

Watch Perfume Genius Perform ‘It’s a Mirror’ on ‘Fallon’

Konstantinos Pappis
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Watch Perfume Genius Perform ‘It’s a Mirror’ on ‘Fallon’

Perfume Genius was the musical guest on last night’s episode of The Tonight Show Starring Jimmy Fallon, delivering a striking rendition of his Glory single ‘It’s a Mirror’. Watch it happen below.

Glory, the follow-up to 2022’s Ugly Season, came out last month.

HAIM Share New Single ‘Everybody’s Trying to Figure Me Out’

Konstantinos Pappis
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HAIM Share New Single ‘Everybody’s Trying to Figure Me Out’

HAIM have released a new song, ‘Everybody’s Trying to Figure Me Out’. Following last month’s ‘Relationships’, the single was co-written with Rostam Batmanglij and Bon Iver’s Justin Vernon. There’s a striking vulnerability to the song, though it hews towards the same warmth Danielle Haim brought to her recent Bon Iver collab ‘If Only I Could Wait’. “You think you’re gonna die/ But you’re not gonna die,” it resolves. Check it out below.

On Instagram, Danielle Haim wrote: “This next song we will be releasing is my favorite song we’ve written in the last couple years 🙂 writing it has gotten me through some hard times, and we felt this might be of some use to get our vibes right for this summer! I started writing this after a panic attack I had the night I got home from tour. I was very confused because I was SO SO SO happy about our incredible tour, but something about being alone with myself scared the shit out of me. after a lot of reflecting I realized I’ve let a lot of people try and tell me how I should live my life, but I realized in making everyone else happy, I lost myself. I wrote this as a way to believe in myself again and quit being scared to do what I want. I hope this finds anyone who needs it.”

Miley Cyrus Shares Video for New Single ‘End of the World’

Konstantinos Pappis
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Miley Cyrus Shares Video for New Single ‘End of the World’

Miley Cyrus has shared ‘End of the World’, the latest preview of her upcoming album Something Beautiful. It follows the recently released ‘Prelude’ and the title track, and it comes paired with a music video directed by Cyrus, Jacob Bixenman, Brendan Walter. Cyrus executive produced the new record with Shawn Everett, who worked on ‘End of the World’ alongside Michael Pollack, Jonathan Rado, Maxx Morando, and Alvvays’ Molly Rankin and Alec O’Hanley, both of whom contributed lyrics and played on the song. Check it out below.

Something Beautiful is set to arrive on May 30 via Columbia.

The Best Songs of March 2025

Konstantinos Pappis
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The Best Songs of March 2025

Every week, we update our Best New Songs playlist with several tracks that catch our attention, then round up the best songs of each month in this segment. Here, in alphabetical order, are the best songs of March 2025.

Alan Sparhawk and Trampled by Turtles – ‘Stranger’

Low’s Alan Sparhawk made the collaborative nature of his second solo LP clear by titling it With Trampled by Turtles. Sprawhwak may be the more recognizable name outside of Duluth’s creative community, but the alt-country group are also longtime pillars of the city’s music scene. It’s not hard to imagine the simplicity of ‘Stranger’, the album’s lead single, being refracted and slowed down to fit the distorted atmospherics of Low’s BJ Purton-produced records, but the song’s bluegrass arrangement pushes Sparhawk’s voice toward clear conviction. “You gotta put up with stranger people than you know now/ You gotta go through some dangerouser things than you thought you’d have to,” he sings, still bending grammatical rules to emphasize his point. More innocent souls might settle with might have to; Sparhawk knows life’s uncertainty is non-negotiable.

Car Seat Headrest – ‘Gethsemane’

“A series of simple patterns slowly build themselves into another song,” Will Toledo sings on ‘Gethsemano’, casually revealing the Car Seat Headrest MO. The lead single from The Scholars stretches over eleven minutes, stitching together fragments of what could be separate tracks into an epic narrative introduction to the mysterious, spiritual world of the band’s latest rock opera. There’s a clear evolution between its parts, though: “I never missed a prayer and I always did the dishes” becomes, through some form of dark mysticism, “I can do whatever the fuck I want when I want to.” The song is seemingly about Rosa, a medical student at the fictional Parnassus University whose life is transformed after reviving a medically deceased patient, but you’re never quite who’s speaking, and a whole cast of characters eventually comes up: “the naked priest, the introvert, the millionaire, conspirator.” Through it all, the song brims with the possibilities of new love, even if it, too, ends up being reduced to rubble.

Chappell Roan – ‘The Giver’

Chappell Roan’s long-teased country pop offering could have raised a few eyebrows, but whether it’s been stuck in your head since its Saturday Night Live debut or its official release in March, you know that fiddle is all camp, no cringe. Roan delivers a country song with all the panache and playfulness of knowing she might never put out another one without making this one sound like a one-off. You can get plenty of airplay out of song with a winking hook like “I get the job done,” but the single becomes an anthem via the gasp-inducing lines it sneaks in around the chorus: “Girl I don’t need no lifted truck/ Revving loud to pick you up/ Cause how I look is how I touch.” The rest of whatever project it ends up appearing on may be stylistically louder, but ‘The Giver’ sounds as effective as it claims to be.

Destroyer – ‘Cataract Time’

Another month, another Destroyer song on this list. The entirety of Dan’s Boogie is now out, so there probably won’t be another one next month, but the album’s third single, ‘Caract Time’, might be its most revelatory. It sprawls over eight minutes, but the song might be the most gentle and inviting on the whole record, hardly veering off course in favour of unfiltered emotion – a rarity in Destroyer’s catalog. “I just sat down and started singing it over a little chord progression and melody,” Dan Bejar said in our interview. ‘Cataract Time’ is a portrait of exhaustion, of being on the road too long, the performative bubble bursting. It runs slower than the world requires of him, but its pace feels not just correct, but somehow illuminating.

MJ Lenderman – ‘Dancing in the Club’ (This Is Lorelei Cover)

When his cover of This Is Lorelei’s ‘Dancing in the Club’ was released, MJ Lenderman revealed that Box for Buddy, Box for Star was the album he listened to the most in 2024. By inviting him to take on the track for the record’s deluxe edition, Nate Amos expresses his own admiration by way of trust: someone like MJ Lenderman could only bring the song’s lonely desparation higher up the surface. Lenderman understands that fucking up your guitar means fucking up your heart, not just the other way round. He’ll slow down the song and draw out the lyrics to make their dissociation feel more personal than situational. And he will, of course, take pleasure in singing the words “A loser never wins/ And I’m a loser, always been,” lifted as they seem from his own Manning Fireworks. More than self-lacerating, though, the cover arrives as a source of comfort, too: being your own worst enemy doesn’t mean you can’t be seen, or find yourself a little less alone.

Matt Berninger – ‘Bonnet of Pins’

“It takes a lot to really disappear/ Always leave traces in the leaves,” Matt Berninger sings on ‘Bonnet of Pins’, the first words we get to hear from his next solo album. At first glance, it seems to dig further into the depressive patterns of the National’s last two albums, which came out of a period of creative and personal burnout for the singer. But on the lead single from Get Sunk, the narrator is not the one who appears as a ghost. “The closest thing she’s ever found to love/ Is the kind you can’t get rid of fast enough,” he says of the person suddenly reemerged, flesh and bones and all, the one finishing off his drink. It sends a jolt through his nervous system big enough to turn ‘Bonnet of Pins’ into one of Berninger’s most revitalizing solo songs to date. “Poor you,” the ghost shrugs. But you feel way more than pity.

billy woods – ‘Misery’ [feat. Kenny Segal]

Another song about misery loving company – only hazier and more haunting than anything else on this list. billy woods introduced his new album GOLLIWOG with a Kenny Segal collab that sticks to the formula the pair mastered on Maps while marking a kind of lyrical shift. The album supposedly finds the rapper revisiting a story about an evil golliwog (like the one on the album cover) he wrote when he was nine, but one hopes no part of ‘Misery’, a song that includes the line “she came to me already wet with sex,” can be traced back to his childhood. The jazz-inflected track is dreamlike in a way that seems to travel through time even though it only lasts two minutes, blurring the line between ecstasy and confusion, night and the morning after – so fast there’s barely a moment to question any of it.

caroline – ‘Total euphoria’

Three years after their debut album, caroline returned in gloriously off-kilter fashion with ‘Total euphoria’. Driven by stabbing guitar, drums that never quite gel into place, and keyboards that hover radiantly but never quite in sync, you’re left wondering how the song could possibly amount to a sound befitting its title, but the experimental UK outfit naturally gets there. The instrumentation doesn’t cohere so much as endlessly revolve into something greater than the sum of its part, something blissfully communal, especially as Jasper Llewellyn and Magdalena McLean start singing in unison. The ambiguous betrayal at the song’s emotional core is never resolved, but you somehow get it, totally.

feeble little horse – ‘This Is Real’

Unlike songs like ‘Dancing in the Club’ and ‘Cataract Time’, ‘This Is Real’ makes a dissociative trip sound like a blast – in the literal sense, at least. “Put the heater to the–” Lydia Slocum sings before the – nu metal? death metal? neither tag quite conveys the disruptive wall of distortion – guitars complete the sentence for her: max. The Pittsburgh four-piece’s first new music in two years showcases a band not so much harnessing the contrast between hypnotic contradiction and dynamic intensity as erasing the difference. They’re the kind to drill the point home, but not without a twist or two; they’ll let out an indecipherable scream, but not without a real confession. “I got my anger off my chest but/ We’ll never be the same again,” Slocum ultimately sings, hushed and human. It’s a good thing, you venture.

The Ophelias – ‘Salome’

Vengeful and invigorating, ‘Salome’ uses the Biblical story of the titular character to take a stab at sexist men in the music industry. “I want your head on the platter,” Spencer Peppet sings, stretching out the I as much as she revels in the daydream. “It gets boring, the monotony of misogyny,” Peppet wrote in her Substack, but the song itself is anything but. Although sort of a lyrical anomaly on the band’s mostly diaristic new album Spring Grove, it punches up their sound – with the assistance of producer Julien Baker, who also provides additional guitar and harmonies – in electrifying ways they’ve long been reaching for. It’s about people that drive you mad, yes, but mostly the madness that drives you forward.

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