London-based singer-songwriter Fauness has previewed her upcoming debut album with a new track called ‘Hours’. It’s the second offering from The Golden Ass, following August’s ‘Mystery’. The LP is due out October 28 via Cascine. Listen to ‘Hours’ below.
“’Hours’ is one of the few songs I’ve made where the lyrics were written after the music,” Cora Gilroy-Ware, aka Fauness, said in a statement. “The pounding nature of the beat made me think of a clock ticking, which reminded me of how I always feel like I’m at war with time, wishing there were more hours, minutes, seconds in the day. I mind myself thinking, if only I could manipulate time, expand and contract it according to what I need and what is required of me. Time is bound up with pleasure, ie, more time to do things you enjoy. This pleasure is the first thing to be sacrificed as the capitalist order makes its cruel demands on our time. Some say time is just as precious as money, but sadly time doesn’t pay the bills.”
Nick Hakim has shared another single from his forthcoming album, following the lead track ‘Happen’. ‘Vertigo’, the first song to be recorded for COMETA, arrives with an accompanying video directed by Asli Baykal and shot on location in Bosnia-Herzegovina. Check it out below.
“The making of the video spanned over a transformative year, and our collaborative friendship with Nick became the center of the journey,” Baykal explained in a statement. “Initially, Nick showed me a video of a Tuxedomoon performance from Downtown 81. It was filmed in the studio where the camera was spinning in the middle.That idea gave life to the lyrics ‘Spinnin’, fast as hell can’t tell if it’s me or the room that’s moving.’ The room evolved into a moving house by a man who built it for his wife. Love is dizzying with multiple spins.”
“’Static’ is about my experience with a repetitive strain injury in my arms which put me out of playing guitar for 18 months,” Kemplay explained in a statement. “At the time I felt hopeless and uncertain of when or if I’d recover.” The 6-track EP will include the recent singles ’19’ and ‘Was it obvious?’.
running out of things to say, running out of things to do EP Cover Artwork:
running out of things to say, running out of things to do EP Tracklist:
1. Winter
2. 19
3. Checkers
4. Static
5. Blushing
6. Was it obvious?
Björk has shared the second single from her forthcoming album Fossora. It’s called ‘Ovule’, and it arrives with a phantasmagoric video directed byNick Knight and produced by Bella Hollamby. Watch and listen below.
‘Ovule’ follows the record’s lead single ‘Atopos’, which came out last week and landed on our Best New Songs list. Of the song, Björk wrote:
ovule for me is my definition of love it is a meditation about us as lovers walking around this world and i imagine 2 spheres or satellites following us around one above us that represents ideal love one below us representing the shadows of love and we ourselves walk around in the third sphere of real love , where the everyday monday-morning meet-in-the-kitchen-love lives in
Fossora, Björk’s first album since 2017’s Utopia, is set to arrive on September 30.
Fred again.. has announced a new album called Actual Life 3 (January 1 – September 9 2022). The third installment of his Actual Life trilogy will be out on October 28 via Atlantic Records. To mark the announcement, the producer has shared a new song, ‘Danielle (smile on my face)’, which samples 070 Shake’s ‘Nice To Have’. Check it out below, along with the cover art and tracklist.
The new LP will follow Actual Life (February 2nd – July 19th) and the accompanying Actual Life 2 (February 2 – October 15 2021). Fred again.. has recently shared collaborations with Swedish House Mafia and Future (‘Turn Out the Lights Again..’), I. Jordan (‘Admit It (U Don’t Want 2)’), and the xx’s Romy and HAAi (‘Lights Out’).
Actual Life 3 (January 1 – September 9 2022) Cover Artwork:
Actual Life 3 (January 1 – September 9 2022) Tracklist:
1. January 1st 2022
2. Eyelar (shutters)
3. Delilah (pull me out of this)
4. Kammy (like i do)
5. Berwyn (all that i got is you)
6. Danielle (smile on my face)
7. Nathan (still breathing)
8. Bleu (better with time)
9. Kelly (end of a nightmare)
10. Clara (the night is dark)
11. Mustafa (time to move you)
12. Winnie (end of me)
13. September 9th 2022
Show Me the Body have announced their next LP: Trouble the Water drops on October 28 via Loma Vista. The follow-up to the New York City hardcore group’s 2019 record Dog Whistle is led by the single ‘We Came to Play’, which you can check out below.
The band recorded the new album, which features the previously released single ‘Loose Talk’, at Corpus studios in Long Island City and produced it with Arthur Rizk (Power Trip, Turnstile, Municipal Waste). They’re set to embark on a world tour next month, kicking off a 15-date European run following performances at Desert Daze and Nothing Fest IV in California.
Trouble the Water Cover Artwork:
Trouble the Water Tracklist:
1. Loose Talk
2. Food From Plate
3. Radiator
4. We Came To Play
5. War Not Beef
6. Out of Place
7. Boils Up
8. Buck 50
9. Demeanor
10. Using It
11. WW4
12. Trouble The Water
Halloween Ends, the latest installment in the current Halloween trilogy, will be released on October 14. The film’s score, composed by John Carpenter and his frequent collaborators Daniel Davies and Cody Carpenter, is out the same day, with a physical release to follow on January 20. A companion EP features four versions of the Boy Harsher song ‘Burn it Down’, which will arrive in tandem with the soundtrack via Sacred Bones/Nude Club. Listen to ‘The Procession’ and ‘Burn It Down’ from the Halloween Ends score below.
Boy Harsher said of their contribution to the film:
“During an extremely brief period of rest between tours, we got this call from the music supervisor of Halloween Ends. The director, David Gordon Green, had listened to our music and wanted to use something for this final installment in the trilogy – Halloween Ends. We flew to New York the next day to meet the team and discuss the possibilities. It was totally surreal. Obviously we’re huge fans of Carpenter and the franchise is a fav, but to work with Gordon Green was also so special, his early films (George Washington, Undertow, Snow Angels) were heavy influences on our work. The real kicker is that Halloween Ends was shot in Savannah, GA – the birthplace of Boy Harsher and where we met. Unbelievable. It all felt too synchronous, and we knew we had to make something work although we were about to leave for a multi-month tour that week. We flew home to Massachusetts, dug through old demos, and found “Burn It Down”. In the end it was the perfect energy for the bittersweet love affair between the film characters Allyson and Corey, so during a couple days off – we cleaned it up and made it come alive.
Halloween Ends Cover Artwork:
Halloween Ends Tracklist:
1. Where Is Jeremy?
2. Halloween Ends (Main Title)
3. Laureis Theme Ends
4. The Cave
5. Drags To The Cave
6. Evil Eyes
7. Transformation
8. Because of You
9. Requiem For Jeremy
10. Kill The Cop
11. Corey and Michael
12. Corey’s Requiem
13. The Junk Yard
14. Where Are You?
15. Bye Bye Corey
16. The Fight
17. Before Her Eyes
18. The Procession
19. Cherry Blossoms
20. Halloween Ends (End Titles)
“I got big plans for this home I made,” Sudan Archives proclaims on the opening track of her sophomore album, Natural Brown Prom Queen. She has a whole album’s worth of songs to prove her point, but wastes no time flaunting her conviction. There’s already a strange magic in the air when she invites us to “step inside my lovely cottage,” leaving you to wonder if the description is plucked from a dream – and in the span of five minutes, the song conjures the sense of chaos and comfort of having a space of your own, real or imagined, as well as the pain and loneliness that often sharpens when it’s exposed to others. As shapeshifting percussion, rollicking synths, and fragmented backing vocals populate the scene, the LA-via-Cincinnati artist, also known as Brittney Parks, sounds at home through all of it. In the landscape of her disorienting yet expertly arranged music, messiness is not only a crucial part of the mix, but the only place where it starts to make sense.
In art as in life, things really get complicated when you try to venture out and project some version of yourself into the world – and that’s exactly what the protagonist of Prom Queen, a semi-autobiographical record that follows a Cincinnati girl’s journey to Hollywood, yearns for: a big break, for sure, but also the kind of belonging and intimacy she can’t find in her self-contained bubble. The cinematic scope of Sudan’s work has clearly expanded since her full-length debut, Athena, itself an impressive and forward-thinking fusion of pop, R&B, and hip-hop, and she finds startling new ways to apply her frenetic, genreless approach. The narrative framework allows her to dissect personal struggles without necessarily attaching them to her own self, an exploration that’s as complex and puzzling as it is, for the first time in Sudan’s career, revealing. The album’s dense, lavish opening stretch in particular underscores just how much of her vision is an idealized or fractured projection. Nowhere is this more apparent than on the restless ‘NBPQ (Topless)’, which goes through multiple transformations, and yet, much like the record as a whole, never fully abandons its musical ideas.
At this point, Sudan – or Britt, the character she takes on – is eager and ambitious, steering the way but unsure how to orient herself through every opportunity and expectation coming at her. “Do you know what you feel? Is it even real?” she ponders, in a rare moment of stillness, on the following interlude. As it vacillates between moments of manic expression and lucidity, each song on Prom Queen sets the stage for the next, but not one of its tracks purvey a single mood. On ‘ChevyS10’, the album’s six-minute centerpiece and its most dynamic cut, Sudan drifts through a wide expanse of space, but the closer she pulls a lover looking for escape, the more it locks itself in a groove that’s driving yet unorthodox. After a couple of tracks that are thrilling yet unruly, ‘FLUE’ arrives like a “rude awakening,” and the singer firmly stands her ground: “Why can’t we stay at home/ And find out where we’ve gone?”
The album revolves as much around Sudan’s search for home as it does the sharing of it, both as a reflection of one’s present and the promise of a future. “I gave you my home/ When you was alone,” she sings on ‘Loyal (EDD)’, and it’s that feeling of aloneness that comes back to haunt her on ‘Yellow Brick Road’; both songs end with dreamy, shimmering outros that sound like she’s dozing off into the past. But Sudan never loses focus, whether blazing through insecurities on ‘Selfish Soul’ or steadying herself on ‘TDLY (Homegrown Land)’, where her determination lifts her, however briefly, into a state of rapture. The effect, both dizzying and dramatic, comes into contrast with less heady tracks like ‘OMG BRITT’ and ‘Freakalizer’, which are not only infectious but serve their own purpose in the story. On the surface, ‘Freakalizer’ is playful and flirty, yet also houses some of the album’s most vulnerable confessions (“I don’t wanna be alone,” “I just wanna be real close”) before ‘Homesick (Gorgeous and Arrogant)’ lays them out in the open.
The last section of Natural Brown Prom Queen is fuelled by desire in ways that highlight the album’s progression, moving from dizzy ambition to true self-assurance. But not even the final track, ‘#513’, which is named for her hometown area code, attempts to tie it all together – perhaps an unsurprising choice for an artist who rarely settles in one place for too long, but still a bold one in the context of a sprawling 18-track LP. Yet in a satisfying, almost endearing way, it feels like a kind of homecoming, that constant process of sweeping out all the obstacles blurring your visio. “I’m too rooted in my ways,” she admits, which comes off as anything but a constraint: it’s only by knowing exactly where she stands, and where she’s been, that she’s able to carve her path forward.
Dehd have a new one-off single, ‘Eggshells’, alongside an accompanying video. It follows the Chicago trio’s latest album Blue Skies, which came out back in May on Fat Possum. Check out the clip, directed by singer Emily Kempf and Kevin Veselka, below.
South London trio PVA have released a new single, ‘Bunker’, which is taken from their upcoming debut LP BLUSH – out October 14 via Ninja Tune. It follows previous offerings ‘Hero Man’ and ‘Bad Dad’. Listen below.
“We started playing ‘Bunker’ almost as soon as the band started,” the band explained in a statement. “Originally just a looped groove, it has evolved into the live track it is today through various compositions and outings live. The song tries to act as a reminder to overcome the want to chase things that ultimately lead to isolation.”