Ab-Soul is back with a new single called ‘Moonshooter’. It’s the LA rapper’s second new track of the year, following April’s ‘Hollandaise’. Ab-Soul co-wrote ‘Moonshooter’ with fellow TDE artist Zacari; listen to it below.
‘Moonshooter’ is reportedly an early preview of an as-yet unannounced album. Ab-Soul’s last full-length, Do What Though Wilt., came out six years ago.
Bladee has announced the follow-up to 2021’s The Fool, sharing a video for the new single ‘Drain Story’. Spiderr will drop on September 30 via Year 0001. Check out the ‘Drain Story’ clip, directed by fellow Drain Gang member Ecco2K, below, and scroll down for the full album tracklist.
Back in May, the Stockholm-based musician released the collaborative album Crest with Ecco2k and Whitearmor. Whitearmor also serves as the primary producer on Spiderr, which features guest appearances from Ecco2k and Wondha Mountain.
Spiderr Tracklist:
1. Understatement
2. Its OK Not To Be OK
3. I Am Slowly But Surely Losing Hope
4. Icarus 3reestyle
5. Nothingg [ft. Wondha Mountain]
6. Blue Crush Angel
7. Disaster Prelude [ft. Ecco2k]
8. Hahah
9. Drain Story
10. Velociraptor
11. Dresden ER
12. She’s Always Dancing
13. Uriel Outro
In this segment, we showcase the most notable albums out each week. Here are the albums out on September 16, 2022:
The Beths are back with their third LP, Expert In a Dying Field, out today via Carpark Records. The follow-up to 2020’s Jump Rope Gazers includes the previously released singles ‘Knees Deep’, ‘Silence Is Golden’, and the title track. “For me, a lot of the emotional expression happens in the writing and the demoing and the writing of the lyrics in particular,” singer and guitarist Elizabeth Stokes told Our Culture of her songwriting process. “But the arrangement feels like a fun creative craft part, where I still have an emotional arc or an emotional point that I want to get across, but it’s more collaborative with the band. And at that point, it does feel like you can kind of take a step back from what you’ve made and build the house that the song is going to live in.”
Rina Sawyama has followed up her 2020 debut SAWAYAMA with Hold the Girl, which is out today via Dirty Hit. Ahead of its release, the singer previewed the album with the singles ‘This Hell’, ‘Catch Me in the Air’, ‘Phantom’, ‘Hurricanes’, and the title track. Working with producers including Paul Epworth, Clarence Clarity, Stuart Price, and Marcus Andersson, Sawayama recorded the album between 2021 and 2022. “So much with this record, I’m like, ‘Is anyone going to get what I’m talking about?’” Sawayama told Them. “But I’ve tried to do this thing where I try to make the hook as easy to understand as possible so that it’s still a good pop song. The specificity [to my experience] is slightly lessened by the fact that the hooks are universal.”
The Mars Volta have returned with their first album in 10 years. The self-titled LP, which follows 2012’s Noctourniquet, is out now via Cloud Hill and features the previously unveiled songs ‘Vigil’, ‘Blacklight Shine’, and ‘Graveyard Love’, all of which arrived with accompanying shorts film directed by guitarist Omar Rodríguez-López. “In these songs, there are more direct expressions of what you’re supposed to be feeling,” singer Cedric Bixler-Zavala said in an interview with The New York Times. “On a lot of other Mars Volta records, you’ll have that every once in a while. But more often you’ll have this total sci-fi riddle. Now I’m speaking about just the things that are happening.”
John Rossiter has put out his latest Young Jesus record, Shepherd Head, via Saddle Creek. The follow-up to 2020’s Welcome to Conceptual Beach includes the advance tracks ‘Rose Eater’ and ‘Ocean’, which features vocals from Sarah Beth Tomberlin. Rossiter recorded the LP on GarageBand with an SM57 microphone. “I would pitch things down an octave and add strange reverb,” he explained in a statement. “If a dog barked, I would isolate it and make it part of a beat. I recorded a voice singing on the street just walking by a storefront and autotuned it. Some guitar parts are just mistakes from voice memos that I chopped, stitched, and looped. I used sounds of rivers, people walking, friends talking. It was a lot of fun. I didn’t care about the fidelity of the recording. Whatever wanted to be in came in.”
Death Cab For Cutie have released their tenth studio album, Asphalt Meadows, today via Atlantic. The band’s first album since 2018’s Thank You For Today was preceded by the singles ‘Foxglove Through the Clearcut’, ‘Roman Candles’ and ‘Here to Forever’. The band wrote the LP remotely and recorded it with Grammy-winning producer John Congleton. “As a producer, he was able to get us out of our perfectionist head streak sometimes where we get really obsessed with the minutiae,” bassist Nick Harmer told Consequence. “Every once in a while, when somebody in the band was like, ‘I don’t know about that performance. I don’t know if that’s good or bad,’ he would turn around in his chair and go, ‘It sounds like music.’”
Blackpink’s new album, Born Pink, is out now via YG Entertainment. It marks the group’s sophomore LP, following 2020’s The Album, and was promoted with the single ‘Pink Venom’. The K-pop superstars have also shared the video for a new single, ‘Shut Down’. “We don’t just receive a completed song,” Jisoo said in an interview with Rolling Stone. “We are involved from the beginning, building the blocks, adding this or that feeling, exchanging feedback — and this process of creating makes me feel proud of our music.”
Marcus Mumford has unveiled his debut solo album, (self-titled). It was previewed with the single ‘Cannibal’, in which Mumford opens up about the sexual abuse he suffered as a child, as well as ‘Better Off High’ and ‘Grace’. The LP was produced by Blake Mills and recorded mainly at Sound City in Los Angeles, with contributions from Brandi Carlile, Phoebe Bridgers, Clairo, Julia Michaels, and Fleet Foxes’ Robin Pecknold. “It will be known as a solo record because of the context from which I come in a band,” Mumford told Billboard. “But it’s the most collaborative piece of music I’ve ever worked on.”
Mura Masa has dropped his third studio album, demon time. Following 2020’s R.Y.C., the record features guest appearances from Shygirl, Lil Yachty, slowthai, PinkPantheress, Channel Tres, Erika de Casier, Leyla, Lil Uzi Vert, and Pa Salieu, as well as the singles ‘e-motions’, ‘Blessing Me’, ‘bbycakes’, ‘2gether’, and ‘hollaback bitch’. Writing the album during the pandemic, Mura Masa predicted people would need “vicarious, escapist music now,” according to press materials. “So that’s where this demon time idea came from – how do we soundtrack the 1am to 5am period where you start doing stupid shit that you don’t regret but wouldn’t do again when it emerges again post-lockdown?”
Suede are back with a new album called Autofiction. The band’s ninth LP includes the singles ‘That Boy on the Stage’, ’15 Again’, and ‘She Still Leads Me On’. “Autofiction is our punk record,” frontman Brett Anderson said in a statement. “No whistles and bells. Just the five of us in a room with all the glitches and fuck-ups revealed; the band themselves exposed in all their primal mess… Autofiction has a natural freshness, it’s where we want to be.” Bassist Mat Osman added: “When we were rehearsing and writing this record it was this sheer, physical rush. That thing where you’re hanging on for dear life.”
Crack Cloud’s sophomore full-length, Tough Baby, has arrived via Meat Machine. Ahead of its release, the Vancouver collective shared the singles ‘Costly Engineered Illusion’, ‘Please Yourself’, and ‘Tough Baby’. The album follows the group’s 2020 debut Pain Olympics, which frontman Zach Choy said they made “with no expectation of making another.” He added, “The name Tough Baby is an allusion to our Planet. To our Culture. And to our Selves. It’s made to remind us that whilst we are all in the gutter to some extent, some of us are looking at the kerb.”
MOSQUITO is the debut record by Brazilian-born, Amsterdam-based producer and vocalist LYZZA. Billed as an “alt-pop mixtape,” the collection spans 10 tracks and follows three EPs: 2017’s Powerplay, 2018’s Imposter, and 2019’s Defiance. “To me a mosquito really encapsulates an uncomfortable presence in your surroundings. Although it’s such a small creature, it has such an effect on the outside world,” LYZZA explained in press materials. “We all know the common feelings having a mosquito in your space brings, they have a stand out presence which I think plays into the idea of misunderstanding in current society so perfectly; everyone surely feels like the mosquito in the room sometimes.”
Kai Whiston has issued his latest album, Quiet As Kept, F.O.G.. The follow-up to 2019’s No World As Good As Mine has contributions from Pussy Riot, EDEN, Iglooghost, and Helene Whiston. “I’m beginning to understand where my own habits and preconceptions come from, and starting to grow from what I spent so long to keep quiet, out of fear of judgement from others or myself,” Whiston said in a statement about the project, which features the early tracks ‘Between Lures’ and ‘Q’. “It’s as if a fog has been lifted.”
No Devotion, No Oblivion; Jesca Hoop, Order of Romance; No Age, People Helping People; Djo, Decide; Pink Siifu & Real Bad Man, Real Bad Flights; Whitney, Spark; Gloria de Oliveira & Dean Hurley, Oceans of Time; Well Wisher, That Weight; Noah Cyrus, The Hardest Part; Michelle Branch, The Trouble With Fever; Behemoth, Opvs Contra Natvram; EST Gee, I Never Felt Nun; Clutch, Sunrise on Slaughter Beach; Lissie, Carving Canyons; Starcrawler, SHE SAID; Disco Doom, Mt. Surreal; Fletcher, Girl of My Dreams; Sumerlands, Dreamkiller; Horace Andy, Midnight Scorchers; Mindforce, New Lords; Fake Palms, Lemons; Molly Lewis, Mirage; Quinn Christopherson, Write Your Name in Pink; Mark Peters, Red Sunset Dreams; The Black Angels, Wilderness of Mirrors; Gogol Bordello, SOLIDARITINE; Yara Asmar, Home Recordings 2018 – 2021.
Carly Rae Jepsen has released a new single from her upcoming album The Loneliest Time. It’s called ‘Talking to Yourself’, and it follows the previously shared tracks ‘Beach House’ and ‘Western Wind’. Jepsen produced ‘Talking to Yourself’ with Ryan Rabin, Benjamin Berger, and Simon Wilcox. Check it out below.
The Loneliest Time is out October 21 via 604/Schoolboy/Interscope. Next week, Jepsen will kick off her So Nice Tour, with support from Empress Of.
With football season well underway, fans worldwide are doing their best to keep up with the happenings across the NFL. Watching your favorite teams on TV goes a long way towards satisfying your need to know all the latest football news. Sports apps take it one step further, making it easier than ever to stay up to date with teams and players.
Many apps are available to track the NFL, so you may find choosing the right one a bit overwhelming. With that in mind, we’ve compiled this list of the top NFL apps to help you with your search.
When you want to stay up to date on everything happening around the NFL, this is the app you should turn to. The official app of the NFL covers breaking news, player stats, injury reports, and predictions.
As betting becomes an increasingly popular way for fans to participate in football games from afar, many check the latest NFL betting odds to see how their favorite teams stack up against the competition. With the NFL app, fans can keep track of important information on their teams and always have the latest news at their fingertips. Fans can also access NFL live streaming from the app with a premium subscription.
The NFL’s offseason is firmly in the review mirror, so now more than ever fans are looking to keep up with the latest news and updates. As the name suggests, this app is all about keeping you informed about what’s going on across the NFL. Whether you want to keep up with scores or track your favorite team, Sports Alert makes it easy.
A user-friendly interface allows you to customize the app to follow the teams you want. The app’s live score widget is updated every minute, so you always know where the teams you follow stand. You’ll also find team rosters, player stats, and live action on the app. If you want the app to notify you about progress during a game, you can set that up too.
Madden NFL Mobile is the perfect app for NFL fans who enjoy playing video games. The mobile version is based on the video games of the same name. You’ll find the league’s teams and rosters on the app, along with several modes, including player and coach. You can test your skills against football players from around the world while playing the game. Plus, the app features impressive graphics and gameplay.
If you enjoy reading about sports in a newspaper format, you’ll want to check out the Athletic app. The app covers all major sports, including the NFL, providing detailed analysis of teams and players. You’ll find some of the best writing in sports on the app, which employs around 400 writers. Whether you’re looking for deep analysis or opinion pieces, it’s all there. However, you’ll have to shell out a few dollars to take advantage of the best of what this app has to offer.
It’s hard to go wrong with ESPN, arguably the biggest name in the sports industry. The ESPN app doesn’t disappoint; it covers everything from trades to rumors and scores. The app is intuitive and easy to customize, so you won’t have problems following your favorite teams and players. If you’re an ESPN+ subscriber, you can access live streaming of sports events and ESPN shows featuring popular on-air personalities.
Unfortunately, the app doesn’t have NFL streaming, so you’ll have to look elsewhere for that. However, if you’re looking for an easy way to keep up with the NFL, this app has a lot to offer.
This app provides extensive NFL coverage along with other major sports, including the NBA, MLB, and NHL. It’s easily customizable, allowing users to create feeds for their favorite teams, sports, and players. If you’re looking for tailored updates and an all-in-one app for all of the sports you follow, The Score is worth checking out.
The Maiden, Canadian filmmaker Graham Foy’s first feature, is a plunge into the lonely wilderness of youth. Set between unpopulated Calgary backroads and somber school halls, the film follows the carefree friendship of two high school skateboarders: Colton (Marcel T. Jiménez) and Kyle (Jackson Sluiter). Yet when a locomotive accident takes Kyle’s life, Colton is left alienated in a dense mist of grief. He floats through a frozen world, shattered by its propensity for sudden and irrational violence. When Colton stumbles on an abandoned diary in the woods (its pages scrawled with cryptic ruminations like “What do trains dream of?”), the narrative bisects and shifts to another perspective: Whitney (Hayley Ness), a missing 14-year-old. Her life, unfolding around the same spaces Colton and Kyle shared, teeters on the verge of invisibility. Like the boys, she’s a lost soul avalanched under the weighty uncertainty of adolescence, fantasizing about escape. The Maiden is consumed by the mysteries of death and the possibilities of afterlives. It summons a tender communion with sprits, presenting a world where absence is a mask for transience, and where we can foster connections beyond the limits of words, time, and space.
Foy’s vision of youth is an aimless wander through abandoned spaces. Together, Colton and Kyle skateboard across dusty side roads, fish through river water, climb into basements of unfished residential houses, and graffiti under rusty bridges. These routine and unglamorous spots become sites of the sublime for the two boys. The laidback, destination-less voyage of adolescence feels magical and gentle when shared with a friend. Yet when Kyle’s gone, the landscapes embody an aching melancholy. Their old graffiti tags become ghostly souvenirs: relics of an uncanny past world that, by all affective measures, feels dead. Every place Colton revisits alone becomes a memento of a lost friend and, even broader, a lost world.
Violence looms peripherally in The Maiden’s world. Yet it’s not violence unleashed by any physical antagonist. Instead, it’s an ambient violence, something inherent to nature: eruptions of an uncontrollable world. Kyle’s death isn’t depicted on-screen. Instead, Foy uses a much more haunting image. He cuts around the collision with Kyle’s body but lingers on the endless procession of compartments which burst across the track, plowing over where Kyle stood full of life just moments ago. Violence registers through the shot’s duration, dwelling on the composition until the train’s rumble is a distant hum. All the while, Colton watches silently. He can’t interfere, he can only gaze forward.
There’s also a haunting shop class vignette where a student’s table saw mishap slices of three fingers (we never see him again; there’s no indicated resolution to his catastrophe). The moment unfolds quietly, onlookers unsure how to respond. Foy’s camera follows one student as he bursts out the door and dashes through the school halls, popping his head into classrooms and announcing the news like a town crier. The Maiden captures so many disparate responses to the spontaneous, rupturing presence of violence. Each reaction is distinct, but they’re all united by a shared vulnerability and confusion. The Maiden suggests there’s no innate or rational response in the destabilizing face of violence. We’re all equally lost.
Foy mixes raw and unpolished performances (enormous praise to Jiménez, Sluiter, and Ness) with a soft and reflective energy, rooted in the enchanted natural environment. The un-stylized performances, complete with a uniquely authentic-sounding teenage vernacular, suit the mostly handheld 16mm aesthetics. Foy often uses extreme-close-ups of facial fragments over standard, full-face portraits. In moments of motion, subjects are unevenly framed or out-of-focus, the camera bobbling around their faces. Yet despite the rugged camera motion, Foy finds calm amidst the chaos. Quasi-documentary cinematography fuses with slow-paced, non-expository storytelling, treating its landscapes like spiritual epicenters. Moments of stillness—and there are plenty—always exist in proximity to jaggedness.
The Maiden stages a rendition of youth dislodged from a singularity of time and place. Temporal ruptures become more than flashbacks but, instead, fractures of chronological time. Foy’s mise-en-scène infuses the story with timelessness and placelessness. For a film about teenagers, there are few technological or cultural period-setting markers. Further, the movie’s set in Calgary, but the specificity of location is unimportant and only implied through the prevalence of cowboy hats on teenage heads. Calgary stands in for an everywhere: an open wilderness where we all roam as equals, escaping the cruelties of the outside world. Ultimately, the film proposes a spiritual field beyond the finality of death. It projects an afterlife where we can wander forever, with no rules and no structures: just exploration and love between friends.
San Jose multi-instrumentalist Kathryn Mohr has announced a new EP, Holly, which was produced by Madeline Johnston, aka Midwife. The seven-track collection arrives October 21 via the Flenser. Listen to the new single ‘Stranger’ below.
Mohr and Johnston recorded the new EP in a rural area of New Mexico. “The desert stripped me down,” Mohr said in a press release. “The desert quieted the thoughts in my mind, replaced them with roadrunners and wind storms. I felt a sense of perspective that was somehow connected to the expansiveness of the land. I felt far away and therefore safe.”
Mohr released her self-recorded debut record, As If, back in 2020.
Holly Cover Artwork:
Holly Tracklist:
1. ____(a)
2. Stranger
3. Red
4. Holly
5. ____(b)
6. Glare Valley
7. Nin Jiom
The Detroit three-piece Bonny Doon have announced their signing to ANTI- with a new single called ‘San Francisco’. Following their 2018 album Longwave, the track features backing vocals from Waxahatchee’s Katie Crutchfield and contributions from members of Woods. Check it out via the Ian Rapnicki-directed video below.
“I moved to the Bay Area in 2018 and for the first time in a while, we had one foot somewhere other than Detroit,” guitarist Bobby Colombo explained in a statement. “We spent a lot of time on the West Coast, which found its way into the writing, and also provided some distance to reflect more deeply on our hometown. ‘San Francisco’ is both a nod to this personal chapter and also an observation about how places like San Francisco and Detroit are being transformed by capital, and how people are figuring out how to keep existing within that change.”
Fontaines D.C. appeared on The Late Late Show with James Corden last night (September 14) to perform the Skinty Fia single ‘Roman Holiday’. Watch it below.
Skinty Fia, the band’s third album, arrived back in April via Partisan. As well as ‘Roman Holiday’, the LP includes the early singles ‘I Love You’, ‘Jackie Down the Line’, and the title track. Read our review of Fontaines D.C.’s set at Primavera Sound 2022.
Palberta’s Ani Ivry-Block has joined Kolb on the latest single to his upcoming album, ‘Internal Affairs’. The Tyrannical Vibes cut arrives with a lyric video by Matthew Gantt, which you can check out below.
“I wanted to channel that energy, but here I’m raging against my own distraction and self-sabotage,” Kolb said of the track in a statement, adding:
There are always a ton of ideas bouncing around my head on any given day and it doesn’t always make it easy to focus on or complete a single task. With the visuals for “Internal Affairs”, I wanted something that would convey that feeling of being disoriented by all of the information we receive via the internet, social media and life in general. I always liked lyric videos, I like that VR art has that uncanny valley element, so I brought in a couple of friends to make those visual ideas reality. Matthew Gantt (whose music I am a big fan of) did the animations and Boothe Carlson added text and edited the video. Hope everybody enjoys and has a wonderful day.”
Tyrannical Vibes is due out September 30 via Ramp Local. Kolb previously shared a video for the album track ‘I Guess I’m Lucky’.
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