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12 New Songs Out Today to Listen To: The Mountain Goats, Joyce Manor, and More

There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Tuesday, October 7, 2025.


The Mountain Goats – ‘Cold at Night’ and ‘Rocks in My Pockets’

The Mountain Goats have shared two tracks from their “full-on musical” album Through This Fire Across From Peter Balkan. ‘Cold at Night’ and ‘Rocks in My Pockets’ revolve around a shipwreck, as John Darnielle explains:

A GREAT GOOD DAY TO ALL WHO SAIL THE TREACHEROUS WATERS OF OUR BROKEN WORLD. WE, THE MOUNTAIN GOATS, COME BEARING NEW SONGS, NOT JUST ONE AS IN FORMER DAYS BUT TWO, AS THERE IS A NEED FOR MORE SONGS. “COLD AT NIGHT” IS ABOUT A SHIPWRECK AND ITS IMMEDIATE AFTERMATH. BASS ON “COLD” IS BY TOMMY STINSON WHO YOU KNOW FROM THE REPLACEMENTS AND GUNS ‘N’ ROSES. GUITARS ON “COLD” ARE BY JOSH KAUFMAN, WHO YOU KNOW FROM BONNY LIGHT HORSEMAN, THE NATIONAL, BOB WEIR, AND A PROMISING YOUNG ARTIST NAMED TAYLOR SWIFT, AND BY MATT DOUGLAS, WHO PRODUCED THESE TRACKS AND WROTE THE STRING ARRANGEMENTS.

“ROCKS IN MY POCKETS” IS A SOLILOQUY FROM ADAM, ONE OF THREE SURVIVORS FROM THE WRECK. IT IS THE LAST WE HEAR FROM HIM. HARP BY THE GREAT MIKAELA DAVIS. ALL THREE MEMBERS OF THE MOUNTAIN GOATS — JON, JOHN, AND MATT — PLAY GUITARS ON “ROCKS,” AND THE TRACK IS LIVE EXCEPT FOR THE PERCUSSION AND HARP OVERDUBS. HARMONY & RESPONSE VOCALS ON “COLD AT NIGHT” ARE BY LIN-MANUEL MIRANDA, WHO SANG AS CHARLEY IN THE 2012 “MERRILY WE ROLL ALONG” CONCERT. I WILL NEVER GET OVER HAVING A GUY WHO HAS SUNG SONDHEIM ONSTAGE ON MY ALBUM: THANKS, BUD. THE REST OF YOU: ENJOY!

Joyce Manor – ‘Well, Whatever It Was’

“‘Well, Whatever It Was’ has got to be one of the most Southern California sounding songs ever recorded,” Barry Johnson said about the lead single of Joyce Manor’s just-announced album I Used To Go To This Bar. “I hear Jane’s Addiction in the verses, Beach Boys / Weezer in the chorus, and RHCP in the outro. It was LITERALLY produced by the guy from Bad Religion FFS. Everyone was just firing on all cylinders for this one. Joey Warnoker’s drumming, TLA’s mix, and Lenny Castro’s percussion all just sent it to the end-zone. This song would go insanely hard in a Shrek film.” It’s as fun as it sounds, especially when paired with the Lance Bangs-directed video parodying The Great British Bake Off.

Austra – ‘Siren Song’

Austra, the  project of Canadian vocalist and composer Katie Stelmanis, has shared a stirring, kinetic new single, ‘Siren Song’, from the forthcoming album Chin Up Buttercup. “‘Siren Song’ exists somewhere at the intersection of ABBA, Ray of Light, The X-Files and Greek mythology,” Stelmanis said of the track, which was co-written with Montreal songwriter, musician and DJ Patrick Holland. “ABBA inspired the early songwriting with Patrick. The Siren introduced herself to me while I was improvising the demo recordings and I quickly realized that Orpheus would be our common nemesis. Following a recent X-Files binge, I was heavily inspired by Mulder’s desperate search for his sister. Ray of Light came in at the end as my co-producer Kieran Adams and I were establishing the sonic realm which would become the backdrop for our Siren to lament the loss of her lover to Orpheus and his pesky Lyre.”

Jay Som – Past Lives [feat. Hayley Williams]

Ahead of the release of her new album Belong on Friday, Jay Som has shared its most high-profile collab, ‘Past Lives’ featuring Paramore’s Hayley Williams. “It’s a dream come true to have Hayley sing on my first feature on an album before the recording of ‘Float’, I still can’t believe it happened,” Melina Duterte commented. “She’s one of the kindest artists out there, and she graciously accepts and uplifts the people around her. We’re all so lucky to witness her talent and live on the same timeline as her.”

Stella Donnelly – ‘Year of Trouble’

‘Feel It Change’, the last single of from Stella Donnelly’s forthcoming album Love and Fortune, was one of the best songs of September. Today the Australian singer-songwriter has followed it up with a bracingly intimate piano ballad, ‘Year of Trouble’. “This one is all heart no ego, all pain no gain,” Donnelly said. “I originally tried to make this a dance-floor heartbreak but I was being too ambitious and overthinking it. Julia [Wallace] helped me figure out that I just needed to play it by myself.”

h. pruz – ‘Krista’

h. pruz has unveiled ‘Krista’, a driving, ghostly single from their upcoming LP Red sky at morning. “I orient the arc of this album as a long journey for a wandering lost traveler, encountering both inner and external turmoil along the way,” Hannah Pruzinsky explained. “When I approached my friend Jono to work on a cover design for this collection of music, we unpacked layers of lore, a world of systems that both the narrator in the songs and the listener is interacting amongst.”

Beverly Glenn-Copeland – ‘Children’s Anthem’ and ‘Let Us Dance (Movement One)’

Beverly Glenn-Copeland has announced a new album, Laughter in Summer, a collaborative LP born from the love story between himself and eco-poet, theatre actor, and producer Elizabeth Copeland. It’s out February 6, and two songs from it, ‘Children’s Anthem’ and ‘Let Us Dance (Movement One)’. “‘Let Us Dance’ holds deep personal meaning for us as a couple, and it’s one of our most favorite songs to perform together,” the pair said in a statement. “It’s a gentle reminder that life invites us to embody joy through movement, no matter the circumstances, no matter how difficult the path. Originally published on Keyboard Fantasies, this choral rework features a newly minted Montreal choir that we met mere moments before recording Movement One. It’s raw and honest–much the way we live our lives now.”

“‘Children’s Anthem’ was one of our very first creative collaborations as a couple, originally written in 2007 for an anti-bullying conference,” they added. “We’re bringing it back on this new album with a fresh arrangement dedicated to our precious granddaughter Freya. We hope it will serve as a rally cry to support and protect all the children of the world. At a time when violence has become endemic, this song and its message is more critical than ever.”

Preoccupations – ‘MUR’ and ‘PONR’

Preoccupations have dropped two outtakes from their latest album, Ill At Ease. ‘MUR’ is mangled and fiery, while ‘PONR’ is haunting and dystopian. “With ‘MUR’, I was trying to translate the feeling of overwhelming, aggressive, helplessness and unwillingness to talk about things that scare you, into the form of sound,” bandleader Matt Flegel shared. “It builds up and hits the point of almost rapture, and then explodes into a rant and rage, and unburdening of all the things you were exasperated about.” ‘PONR’, Flegel added, is “set in a far future, where the feeling of nostalgia died a long time ago. It’s about finding a trove of relics that you think of as new and incredible, but they’ve existed in far superior forms in the past. You don’t know any better, but it makes you feel good, so you don’t question it. Time moves on a you eventually grow tired of it all and burn it, and try to find or create better versions of the things. It’s basically about the inevitability of disappointment, and the inherent human need to tear things down, make a blank slate, and create something new.”

Hilary Woods – ‘Taper’

Hilary Woods’ new single ‘Taper’, which lifted from the Irish musician’s upcoming album Night CRIÚ, is chilly and hypnagogic, the perfect song to wrap up your day. “‘Taper’ is a song that honours a presence to one that is absent,” Woods shared. “A love song that only a children’s choir could express fully, it was a real joy to work with the Hangleton Brass Band on this one.””

Hayley Williams Joins Jay Som on New Single ‘Past Lives’

Jay Som has teamed up with Paramore’s Hayley Williams for ‘Past Lives’, the latest single from her upcoming album Belong ahead of its release on Friday. Beautifully fuzzy and emotive, the track follows previous singles ‘Float’ (featuring Jimmy Eat World’s Jim Adkins), ‘A Million Reasons Why’, ‘Cards on the Table’, and ‘What You Need’. Check it out below.

“It’s a dream come true to have Hayley sing on my first feature on an album before the recording of ‘Float’, I still can’t believe it happened,” Jay Som said in a statement. “She’s one of the kindest artists out there, and she graciously accepts and uplifts the people around her. We’re all so lucky to witness her talent and live on the same timeline as her.”

Joyce Manor Announce New Album ‘I Used To Go To This Bar’, Share New Single

Joyce Manor have announced a new album, I Used To Go To This Bar. The follow-up to 2023’s 40 oz. to Fresno comes out January 30, 2026 via Epitaph Records. The band’s Barry Johnson described lead single ‘Well, Whatever It Was’ as a “song would go insanely hard in a Shrek film,” which is really doing the job for me. Its Lance Bangs-directed video parodies The Great British Bake Off and features a cast of comedians and musicians playing UK rockstars. Check it out and find the album cover, tracklist, and Joyce Manor’s upcoming tour dates below.

“‘Well, Whatever It Was’ has got to be one of the most Southern California sounding songs ever recorded,” Johnson said. “I hear Jane’s Addiction in the verses, Beach Boys / Weezer in the chorus, and RHCP in the outro. It was LITERALLY produced by the guy from Bad Religion FFS. Everyone was just firing on all cylinders for this one. Joey Warnoker’s drumming, TLA’s mix, and Lenny Castro’s percussion all just sent it to the end-zone.”

Used To Go To This Bar, which includes the early single ‘All My Friends Are So Depressed’, was produced by Brett Gurewitz (Bad Religion, Epitaph Records CEO). “Working with Brett was amazing,” Johnson commented. “When it comes to our musical DNA, he’s one of the architects of everything we grew up on. Having him guide our record helped us make something that we could put next to those classic records that shaped us. I really feel like we were behind the wheel, and I’m really proud of it.”

“When you’re a musician in the studio, you want to be creative,” Gurewitz added. “You don’t want to wait around and feel frustration because people are taking a long time to plug something in. I always try to work fast and keep things creative and fun.”

I Used To Go To This Bar Cover Artwork:

I Used To Go To This Bar Tracklist:

1. I Know Where Mark Chen Lives
2. Falling Into It
3. All My Friends Are So Depressed
4. Well, Whatever It Was
5. I Used To Go To This Bar
6. After All You Put Me Through
7. The Opossum
8. Well, Don’t It Seem Like You’ve Been Here Before?
9. Grey Guitar

Joyce Manor 2025-2026 Tour Dates:

Oct 16 – Munich, DE – Backstage Werk *
Oct 17 – Berlin, DE – Columbia Theater *
Oct 18 – Oberhausen, DE – Turbinenhalle
Oct 19 – Brussels, BE – AB
Oct 20 – Haarlem, NL – Patronaat
Oct 22 – Bristol, UK – The Prospect Building *
Oct 23 – Glasgow, UK – SWG3 Glasgow *
Oct 25 – London, UK – Roundhouse
Oct 26 – Leeds, UK – Leeds University Union
Nov 8 – Pensacola, US – Night Moves Fest
Mar 9 – Phoenix, AZ – The Van Buren ^
Mar 11 – Austin, TX – Stubb’s Waller Creek Amphitheater ^
Mar 12 – Houston, TX – House of Blues Houston ^
Mar 13 – Dallas, TX – House of Blues Dallas ^
Mar 14 – New Orleans, LA – House of Blues New Orleans ^
Mar 16 – Orlando, FL – House of Blues Orlando ^
Mar 17 – Atlanta, GA – Buckhead Theatre ^
Mar 18 – N. Myrtle Beach, SC – House Of Blues Myrtle Beach ^
Mar 20 – Baltimore, MD – Nevermore Hall ^
Mar 21 – Boston, MA – Citizens House of Blues Boston ^
Mar 22 – Philadelphia, PA – The Fillmore Philadelphia ^
Mar 24 – Brooklyn, NY – Brooklyn Paramount ^
Mar 25 – Buffalo, NY – Asbury Hall ^
Mar 26 – Toronto, ON Canada – The Danforth Music Hall ^
Mar 27 – Detroit, MI – Majestic Theatre ^
Mar 28 – Chicago, IL – The Salt Shed ^
Apr 10 – Indio, CA – Coachella Valley Music & Arts Festival
Apr 17 – Indio, CA – Coachella Valley Music & Arts Festival
Apr 26 – Madison, WI – The Sylvee ^
Apr 27 – Minneapolis, MN – Varsity Theater ^
Apr 30 – Des Moines, IA – Wooly’s ^
May 1 – St. Louis, MO – Delmar Hall ^
May 2 – Lawrence, KS – Liberty Hall ^
May 4 – Denver, CO – Fillmore Auditorium ^
May 5 – Salt Lake City, UT – The Depot ^
May 7 – Great Falls, MT – The Newberry ^
May 8 – Calgary, AB Canada – The Palace Theatre ^
May 9 – Edmonton, AB Canada – Midway Music Hall ^
May 11 – Vancouver, BC Canada – Commodore Ballroom ^
May 12 – Seattle, WA – The Showbox ^
May 13 – Portland, OR – Roseland Theater ^
May 15 – San Francisco, CA – The Fillmore ^

* w/ The Hotelier, Tiger’s Jaw, Oso Oso & Ways Away
^ w/ Militarie Gun, Teen Mortgage & Combat

Book Review: Grace Byron, ‘Herculine’

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“So much of transsexualism is the divulging of history,” Grace Byron writes in her propulsive and searing debut novel, Herculine. “It is not a gift so much as a bomb we’re all passing to each other.” In this case, it’s literal. An unnamed narrator passes time in New York City by doing bumps of ketamine, freelance writing, sexting, and trying to ignore the demon in her head, spurned by adolescent conversion therapy. At first it seems hammed up — “Evil, evil girl,” the demon tells her — but becomes frighteningly real as she makes her way to an all trans-girl commune her ex invited her to via the text “girl i’m literally begging you to join the cause,” which feels more appropriate for going out on a Friday night than uprooting your life and sleeping in cabins.

“For a lesbian commune,” she notes when she first arrives, “the girls read surprisingly little Sylvia Plath.” They have dyed hair and tattoos, though, and for food, they’ve started a GoFundMe. “Some girls cammed, some girls scammed Amazon, everyone chipped in farming,” Byron writes, at once a perfect satire of a utopian anarchist community New Yorkers are desperate to flee and form and a completely realistic order of operations that lesbians could achieve. She and Ash have intense, constant sex — the narrator feels guilty for leaving her prematurely to heal after bottom surgery — but it feels nice to be the host’s little plaything, a continuous plus one. She’s staying in Ash’s cabin (“a little concubine for the queen”) and other girls have started to notice and move away from her at their dinners.

It’s true though that wherever you go, you will follow — the demon inside the narrator’s head re-emerges here. The commune has revealed itself to be slightly different; the girls have all sold their souls to the devil, basically, in exchange for facial feminization surgeries and the ability to get pregnant. It’s an interesting, probing concept — these trans women have already manipulated and transformed their bodies to be more like the ideals they had in their heads, but exactly how far will they go? Is an eternal connection to the underworld worth the self-actualization that comes from being able to engage in the purest and most indisputable form of womanhood, pregnancy? And, what, is the baby gonna be evil or something? “Trans-girl utopia, baby,” Ash says, smiling. “At Herculine, we can get all that we want.”

Through its structure of communal living and trans solidarity, Herculine feeds on complex thought patterns like these — everyone justifies their involvement with the demon since they feed on trauma as much as trans girls do — a “survival tactic,” Ash says. “It’s a dissociation tactic, an art practice, a bonding element.” It’s a lot to consider. With the demons’ help, the narrator could publish a book, get FFS, anything she desires to prove to everyone back in New York that she’s worthy. This will show everyone who thinks “abolishing the cop in your head” is an interesting thing to write about. Hasn’t she been pestered by her internal demons — with no reward — for years? 

Though at times the book doesn’t feel as sharp as Byron’s other, prolific criticism — the commune scenes were often hard to conjure, the girls blurring into themselves, and the finale’s all-out war against subtlety felt like a graphic, gory fireworks display — Herculine delves deep into our own desires, however messy (and often disgusting) they are. It’s a jarring, sticky novel that isn’t afraid to wade into the muck of transness and feminism, emerging with some urgent, and bizarre, solutions. A bomb indeed.


Herculine is out now.

Battlefield 6 Previews Gameplay Changes and Day-One Patch

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Battlefield 6 has officially shared the upcoming gameplay changes based on community feedback. At the same time, the developers revealed a launch day patch for all players. The key details arrive a few days before the launch on October 10. 

Turning Feedback Into Changes and Improvements

According to Electronic Arts (EA), Battlefield 6 is the most tested entry in the series. In particular, it logged more than 92 million hours of gameplay during the Open Beta. At the same time, there have been over 30 Battlefield Labs sessions.

With these, the developers were able to get vital learnings. Particularly, class pick rates mainly depended on map layouts. In detail, most players chose Support for close-quarters maps, such as Siege of Cairo. Similarly, Recon was more popular among players on longer-range maps, including the Iberian Offensive.

The feedback showed that kill rates were steady across playlists. Match length also changed within Closed Weapons playlists by up to 45 seconds. In the same way, players revived teammates more in these playlists. It came with longer matches.

Overall, a larger number of players prefer Open Weapons. Still, some specific players choose Closed Weapons. So, the developers are including both at launch to meet both player picks. On top of that, Closed Weapons mutators will stay in the Portal toolset. This move lets players have custom experiences.

Launch Playlists and Menu Improvements

Based on the Battlefield Team announcement, all maps will be available to players across platforms at launch. Also, game modes will have separate playlists. These popular modes include Breakthrough, Conquest, and Escalation. Plus, there will be mixed playlists. It makes sure that matchmaking stays smooth when changing modes.

There has also been a change in the menu. Before, the menu was called Portal. Now, it is named Community. This section features an improved Server Browser. Likewise, players can find verified modes in it.

Battlefield 6 Day-One Patch Notes

Aside from the gameplay changes, the developers are dropping a big update at launch, said EA. To specify, there will be more than 200 fixes and improvements. The patch details are as follows: 

  • More responsive player movements, with pacing fixes
  • Rebalanced weapon recoil for better long-range fights
  • Improved gadgets with smoother animations
  • Adjusted maps to balance offensive and defensive roles
  • Clearer UI and HUD elements
  • Cleaner and Sharper audio
  • Fixed network for less lag

All in all, these updates enable Battlefield 6 to deliver the best gaming experience. In a way, it also helps in getting more players than its competitors.

Pokémon GO Reveals Plans for Halloween 2025

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Pokémon GO has just revealed its plans for Halloween 2025. As always, it has exciting treats for all fans around the world. The event will also be a two-part celebration. But developer Niantic has only shared details of the first part so far. In particular, part one is full of spooky content. There will be new Pokémon and limited-time bonuses. Likewise, players can find festive decorations and music.

Two New Pokémon Come on Halloween 2025

According to Niantic Incorporated, this year’s event adds Poltchageist and Sinistcha. These characters are called the Matcha Pokémon. They are Ghost-and-Grass type. It is also the first time these creatures show up in the mobile title.

Likewise, players can turn Poltchageist into Sinistcha. All they have to do is use 50 Poltchageist Candy. On top of that, Halloween 2025 gives trainers a chance to face Shiny Sinistea. They can find it during raids or in the wild.

GO Pass: Halloween 2025 Exclusive Bonuses

The Pokémon GO team said that bonus rewards await players in the event. To unlock, they have to buy the GO: Pass: Halloween 2025 or the GO Pass Deluxe. The rewards also come in a tiered system:

First Tier

  • 2× Catch Candy (3× Catch Candy with GO Pass Deluxe)

Second Tier

  • Higher chance for Trainers level 31 and above to get Candy XL for Nice, Great, and Excellent Throws

Third Tier

  • 2× Candy for transferring Pokémon, with higher XL Candy odds for level 31 players
  • 3× Candy for transferring Pokémon, with even higher XL Candy chances for level 31 players using the GO Pass Deluxe.

At the same time, Niantic said that the following rewards are available to Deluxe users:

  • Candy XL
  • More encounters with event-themed Pokémon
  • Premium Battle Passes
  • Rare Candy XL
  • Teatime Pose

Wild Spawns, Raids, and Shadow Battles

In Halloween 2025, players can also expect wild encounters with other Pokémon, said Niantic Incorporated. These are Greavard, Hisuian Zorua, Zorua, and more. Lucky trainers even have the chance to encounter shiny ones. 

Similarly, different Raids bring more characters. Plus, this raises the chance of seeing a Shiny Sinistea.

  • One-Star Raids: Galarian Yamask, Poltchageist, Sinistea
  • Three-Star Raids: Alolan Marowak, Hisuian Samurott, Hisuian Typhlosion
  • Shadow Raids: Shadow Phantump, Shadow Yamask

Field Research and Other Treats

Based on the official announcement, there will be an event-themed Field Research. Also, players can earn Mega Energy for some Pokémon after completing particular tasks.

At the same time, the upcoming event adds avatar items and stickers. In the same way, the developers included a new version of the Lavender Town music. And to round things up, the game will also feature themed decorations.

Availability

Pokémon GO Halloween 2025 Part 1 starts on October 21 (10:00 a.m.) to October 27 (10:00 a.m.) local time.

Madi Diaz Shares New Song ‘Why’d You Have To Bring Me Flowers’

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Madi Diaz has prevewed her upcoming album Fatal Optimist, which is out this Friday, with one more single called ‘Why’d You Have To Bring Me Flowers’. “My toxic trait is hanging on, your toxic trait is showing up,” she sings, making pretty compelling use of therapy-speak. The track follows previous entries ‘Feel Something’, ‘Ambivalence’, and ‘Heavy Metal’. Check it out below.

Hannah Frances Collaborates With Grizzly Bear’s Daniel Rossen on New Song ‘The Space Between’

Ahead of the release of her new album Nested in Tangles on Friday, Hannah Frances has shared its final advance single, the cathartic, Daniel Rossen-featuring ‘The Space Between’. It follows previous cuts ‘Falling From And Further’, ‘Surviving You’, and ‘Life’s Work’. The music video is part of a series of accompanying visuals made in collaboration with Vanessa Castro. Check it out below.

“In ‘The Space Between’ Hannah Frances performs a modern ballet duet with an avant-garde twist choreographed by New York City Ballet’s Emma Engel,” Castro explained. “Inspired by Marcel Dzama’s plays and the surrealist imagination of Leonora Carrington, the piece follows Hannah’s younger self, also played by Engel, who guides her through a dialogue with her many parts. These selves are embodied by a cast in animal masks, moving through a dreamlike world that blurs childhood imagination play with the discipline of growing up as a performer.”

Engel added: “The choreography is dreamlike, built on playful shapes and gestures that return throughout the video. At first the movement is light and silly, but as the two characters grow closer, it transforms into something more powerful and heartfelt. Blending hints of ballet with free and abstract movement. The dance reflects connection, love and the joy of moving in sync with someone else and ultimately yourself.”

Album Review: Taylor Swift, ‘The Life of a Showgirl’

Ever since the release of ‘All Too Well (10 Minute Version)’, Taylor Swift has more or less embraced what critic Lindsay Zoladz, writing about the 2021 version of the track, called “unapologetic messiness.” If Midnights was aesthetically messy, The Tortured Poets Department was downright chaotic. Taylor Swift is not getting any more apologetic, but in The Life of a Showgirl, she attempts, with help from Swedish production duo Max Martin and Shellback, to offer a leaner, more focused record with fewer tracks than it has variants. There is a tight, smart, tender pop record hidden in there, but as a whole, it feels perfunctory and terminally front-loaded, almost every song on the back half undermining its charmful beginnings – the album starts to lend artistic heft to her honeymoon era, then spends too much time revisiting well-trodden ground. “You don’t know the life of a showgirl, babe,” Swift sings, curating another ostensibly flawless, actually messy glimpse of it.


1. The Fate of Ophelia

If The Life of a Showgirl is essentially an album about feeling safe in the hands of love, the opening track is Swift’s most compelling attempt at extolling its virtues – a bold choice for a hit single, which it inevitably will be, but also a promising introduction to a vision that the rest of the songs barely expand. By reclaiming Shakespeare’s tragic heroine, Swift reframes and forges on from the self-maddening pretensions and melancholy overtones of The Tortured Poets Department, throwing in a wistful piano-driven bridge to herald the transformation. The plodding, somewhat jumbled verses could use some of the glitz and glamor of the chorus, which is infectious enough to sell lines like “Pledged allegiance to your hands, your team, your vibes” that would scan as cringey elsewhere.

2. Elizabeth Taylor

“What could you possibly get for the girl who has everything and nothing all at once?” Swift sings, the heaviest line on a track that doesn’t carry the same weight as a ‘Clara Bow’ – it’s more in line with Reputation’s ‘Don’t Blame Me’, a familiar meditation on the intersection of fame and romance that really pops in the chorus, though the programmed strings are tastefully incorporated throughout. “You’re only as hot as your last hit, baby,” she quips, trying to both ride off the steam of TTPD and move past its melodrama.

3. Opalite

It’s no wonder the album’s breeziest song is also one of its best, a reminder that Swift’s low-stakes, shimmery pop-rock tunes often end up having the most replay value. (‘Paper Rings’ fans will find a lot to like in this one.) The production is reminiscent of Jack Antonoff’s work on the latest Sabrina Carpenter album, but even without his presence or Carpenter’s cheekiness, her sincerity shines through. It didn’t need the “Whoa-a-a-a-oh” to be an earworm, but that’s the cherry on top.

4. Father Figure

Swift told her fiancé’s podcast that she’s “the business of human emotion,” and here she declares that “this love is pure profit.” Apart from the song’s interpolation of a George Michael song (which is barely perceptible), the line that has most people talking is “I can make deals with the devil/ Because my dick’s bigger.” It may be weird on the surface, but ‘Father Figure’ rewards closer listening. Though once again familiar territory, it stands out for the meaning Swift sneaks in between the jokes and warnings, deploying a woozy, ethereal arrangement that, like her lyrics, sharpen right when they need to – introducing a sturdy bassline just as she prepares for battle, changing key as she climbs the ladder. There’s no doubt she means business, but there’s real feeling underneath.

5. Eldest Daughter

A stripped-back companion to ‘Father Figure’, the song leans into vulnerability and childhood nostalgia as it bemoans internet bullies and apathetic memes – Swift sounds tired, which is enough to warrant a reality check. “I’m not a bad bitch, and this isn’t savage,” she admits, reminding herself of past innocence and trauma, a time when trampolines, ferris wheels, and kisses were worth more trouble than mean comments. It’s proof that Swift’s piano ballads can sound enlightening, not just sad folkmore retreads.

6. Ruin the Friendship

‘Ruin the Friendship’ runs off of some of the nostalgia of the previous track but locks in on Swift’s storytelling, a strength that’s underutilized on most of Showgirl. She has every right to write songs about being happy now, but her distance from the past seems to invite some of her most evocative and well-rounded lyrics, not to mention the album’s most impassioned vocal performance. Like TTPD’s ‘But Daddy I Love Him’, its country-pop directness renders it a highlight, even if it’s way more understated and regretful.

7. Actually Romantic

If The Life of a Showgirl was cut in half, the first part would arguably make for Swift’s strongest post-pandemic album; everything leading up to ‘Actually Romantic’ is decent to pretty great, and there’s a sense of continuity to it. But it gives me no pleasure to say that it all goes downhill from here. The most striking element of ‘Sympathy Is a Knife’, the reason it’s one of Charli XCX’s best songs, is how revealing and exasperated it is, its edginess spiraling inward. But ‘Actually Romantic’, an apparent response to that song, is hollow, spiteful, and childish, watering down the chord progression from ‘Where Is My Mind?’ (the Pixies sure deserved a writing credit, or Weezer for that matter) as if scrambled together at the last minute. Of course she undercuts herself by singing “I mind my business, God’s my witness that I don’t provoke it,” before proceeding to inform us that it’s making her wet. Weird how it’s been a few since we had a song about Travis.

8. Wi$h Li$t

Though not nearly as embarrassing as ‘Actually Romantic’, ‘Wi$h Li$t’ is actually, well, romantic: a pretty agreeable love song about reaching for a simple, normal life in a world obsessed with material pursuits. Coming from Swift, of course, it scans as fantasy, one in which everyone looks like Travis Kelce for some reason. That’s all well and cute, but it only makes ‘Lavender Haze’ hit harder in retrospect.

9. Wood

You probably know that this is the song that contains the line “His love was the key that opened my thighs.” But it’s hard to believe, when you actually listen to it, that it’s repeated multiple times, coming back twice at the end of the song. As if that is the killer lyric! As if ‘Wi$h Li$t’ was too inoffensive for Swift not to go back to being sexually, uh, explicit and winking at the audience. It’s odd that this is not the song with the Sabrina Carpenter feature, but Swift alone doing the tongue-in-cheek thing just falls flat.

10. CANCELLED!

Swift may be addressing different controversies this time around, but ‘CANCELLED!’ recycles the vitriol of some of the most memorable Reputation and TTPD tracks without adding anything new to the table. There’s punch to the production, but it is, still, punching down, and without the impact of even the quietest song on this very album. “Did you girlboss too close to the sun?/ Did they catch you having far too much fun?” she asks, but Showgirl’s trajectory makes you wonder if she caught herself.

11. Honey

It’s sweet that the nicknames that used to sound derogatory are now filled with love, but the sentiment quickly wears thin, even if the subtly vibrant instrumentation sounds quite pleasant over a trap beat. It could use a fun twist.

12. The Life of a Showgirl [feat. Sabrina Carpenter]

The title track makes for a lackluster closer, an end-credits song for an album that barely had a finale, feeling instead more like a culmination of the Eras Tour. The record has a clear beginning, middle – and then it falls off. This is also one of her weaker duets; not too long ago, Swift wrote from the perspective of an aging star watching another one on the rise, and sang, alongside Phoebe Bridgers, “She’ll know the way and then she’ll say she got the map from me/ I’ll say I’m happy for her, then I’ll cry myself to sleep.” The superstar here is confident in her estrangement as much as her immortality. “Now I’m making money being pretty and witty,” she and Carpenter sing at different points, as if “business of emotion” didn’t sound cynical enough. Despite its emotional range and sincerity, it makes both the lovely and messy parts of an incomparable life seem all too transactional.

Virtual Worlds Became Our New Reality, Especially for Gamers

Gaming has become part of our comfort zone, a space where people hang out, compete, and feel at home. Thanks to better tech like VR and AR, these experiences feel more natural and less like science fiction. For gamers, this shift didn’t happen overnight, but now it’s clear: the digital world is where a lot of real life happens.

Games Feel More Real Than Ever

What used to be a flat image and a joystick now feels like stepping inside a living world. Virtual reality and haptic feedback make actions physical: grabbing a weapon, ducking behind cover, or feeling the echo of sound in a crowded arena. Games like Half-Life: Alyx show how far this has come.

That same shift is happening in other spaces too. In online casinos, we’ve gotten used to safe slot gambling sitesoffering spinning reels and high payout rates. But many of these platforms now go further. Thanks to live dealer tables, players can now chat with real people (hosts and other players) while playing. It turns what used to be a solo game into something more social.

You see it elsewhere, too. Virtual concerts inside games pull in millions, where people dance, cheer, and take part like they’re really there. It’s more than just tech; it’s how people connect now.

Real Connections, Built in Virtual Worlds

People aren’t just playing games anymore. Instead of that, they’re meeting, talking, and building friendships inside them. Now, players use voice, body movement, and shared experiences to interact in ways that feel closer to real life.

Social VR platforms like VRChat or Rec Room draw massive crowds every day. People drop in for all kinds of reasons: to hang out, attend events, or just talk to someone without pressure.

For many younger users, especially after years of isolation, these digital spaces offer a way to rebuild confidence and practice social skills without judgment. Features like spatial audio and lifelike movement help make things feel natural, even behind a screen.

Digital Markets That Matter

Games now have real economies, run by the players. People create gear, buy property, and trade with each other using virtual currency. Many treat it seriously by flipping rare items for cash or building stores inside the game.

Online games like EVE Online or Final Fantasy XIV show how deep this can go. Players run mining operations, build shops, and plan trade routes.

Big events inside the game shift prices and demand, just like real-world markets. These systems are getting stronger, especially with blockchain giving users full ownership of what they create or buy. And the skills players learn (project planning, sales, teamwork) often carry into jobs outside gaming.

What Gaming Does to the Brain

Spending time in virtual worlds changes how people think and feel. Games that demand spatial awareness, quick thinking, or strategy can sharpen those exact skills over time. Wins feel rewarding, and the process of retrying after failure builds patience in a way that doesn’t feel forced.

Still, spending hours at a time in these spaces can have side effects, especially if breaks aren’t taken.

And the mental benefits are getting more attention. Studies are starting to show that storytelling games can help with mood regulation, while decision-making games might boost focus or problem-solving in everyday life.

Games also give people a way to try out new roles. Your avatar can become a version of you that acts with more confidence or creativity!

Gaming That Blends Into the Real World

The tech behind games is changing fast, and what’s coming next feels less like science fiction and more like the next logical step.

There’s also a growing effort to make all this more inclusive and sustainable. Newer hardware includes adaptive controls for players with different needs. Some studios are switching to energy-efficient servers or designing gear that’s easier to recycle. It’s all pointing in the same direction: games that feel more natural, more accessible, and more connected to the lives we live offline. What an exciting future!