Porter Robinson has announced his third album, SMILE! 😀, with the new single ‘Knock Yourself Out XD’. The follow-up to 2021’s Nurture will be out July 26 via Mom+Pop. Check out a video for the new song, which follows last month’s ‘Cheerleader’, below.
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Porter Robinson Announces New Album, Shares New Song ‘Knock Yourself Out XD’
Los Bitchos Drop New Single ‘La Bomba’
Los Bitchos have returned with a new single called ‘La Bomba’. Check out the Tom Mitchell-directed video for it below.
Discussing the song, which was produced by produced by Oli Barton Wood, the band said:
“La Bomba” is a burst of energy and power! It’s just such a fun song – we started playing it at festivals last summer and the energy felt so good!”
The beginning stabs are what came to me (Serra) first as I was cooking in my kitchen. There’s something quite heroic and powerful about the opening guitar tone and the stabs underneath them. The twangy guitar tone cuts through the chaotic landscape of claps, pumping disco bassline and dreamy swirling synth sounds. The disco era influence is quite evident in this song, and I think the bassline sets the tone perfectly for this. Structurally the song delivers straight into a chorus (as Nile Rogers said, why wait). We wanted to keep this as close to a classic pop structure as possible, everything straight to the point.
The cherries on top are the little ping pong drum sounds (think Ring My Bell, Anita Ward) – they just make the track go off and totally emulate the feelings of euphoria and pure energy running through it.
They added of the video: “As it’s a high energy, pumping song, we needed to have really dynamic visuals to go with that and bring the song to life. The video has lots of shiny, glitterball moments and moves between performance and surreal segments. We had so much fun with make-up and styling for this video. Josefine saw this thing on tik tok where you film in a way which gives the illusion you’re riding a horse, so obviously we had a go and put that in the video last minute on set.”
Los Bitchos released their debut LP, Let the Festivities Begin!, in 2022. Revisit our Artist Spotlight interview with Los Bitchos.
The Decemberists Release New Song ‘All I Want Is You’
The Decemberists have unveiled a new song, ‘All I Want Is You’. It’s set to appear on their forthcoming LP, As It Ever Was, So It Will Be Again, along with the previously released ‘Burial Ground’ and ‘Joan in the Garden’. Check it out below.
“‘All I Want Is You’ is a love song,” frontman Colin Meloy explained in a statement. “An unapologetic, wear-it-on-its-sleeve love song. I don’t write a ton of those, at least not in this vein. The song grew out of the finger picking pattern — “Don’t want pretty poses…” — and I just followed that lead. In the end, it just kind of wrote itself. It’s so bare bones, it lived for a long time in my songwriting notebook, kind of in hiding, before I got up the courage to put it out there. It shares a title and hook with many songs that have come before it, but I like to think I’m merely adding my own take to that tradition.”
As It Ever Was, So It Will Be Again will be released on June 14 through YABB/Thirty Tigers.
Artist Spotlight: Hovvdy
Hailing from Austin, Texas, Hovvdy is the indie rock duo of Charlie Martin and Will Taylor, who were both touring drummers when they first met at a baseball game a decade ago. Combining their solo songwriting efforts, they put out their debut LP, Taster, in 2016, gradually sharpening and layering their warm, low-key sound with a series of heartfelt releases, including 2018’s Cranberry and their 2019 breakthrough Heavy Lifter. Their new self-titled album, out Friday on Arts & Crafts, sees them continuing their collaboration with producer Andrew Sarlo and multi-instrumentalist Ben Littlejohn, who worked with the duo on 2021’s True Love and 2022’s billboard for my feelings EP. This time, all four were present for each session, giving Martin and Taylor the space to hone their collaborative craft while finding ways to honour their lo-fi origins. The result is a 19-track double LP of sprawling intimacy, one that allows big choruses to jump out and quiet moments to linger longer than you might expect. It’s a gorgeous record about the passage of time that keeps you hooked, ensuring no amount you spend with it feels wasted.
We caught up with Hovvdy for the latest edition of our Artist Spotlight series to talk about self-titling their new album, the process behind the album, their songwriting tendencies, and more.
I wanted to start with self-titling the album, which is often seen as making a kind of statement on the band’s identity. I’m curious if that was something you considered with any previous album or if it was the first time it came up.
Charlie Martin: We’ve always had it in our back pocket as an option. This time around, me and Will were working with producer Andrew Sarlow and our buddy Ben Littlejohn. We four have been working pretty closely for a few years and on the last handful of projects, and it felt like this record was by far going to be the most intentional and ambitious for all of us. Once it started to come together, we mentioned potentially self-titling, and that idea went to the top of the list. After a few months of considering other things, it felt like the right call.
Will Taylor: Sometimes it reveals itself over time. Like Charlie mentioned, there were some other titles we discussed and some other angles that we were considering taking with the titling of it, and I think as time went on, the only thing that really stuck was calling it our band name. I think it makes a lot of sense at this point in our career, being our fifth record, it being a double record. I think it’s our most robust statement to date, and so I feel like it makes a lot of sense to come back to the band name.
Do you recall how it rose up to the top of that list?
CM: Honestly, with every record we make, we’re like, “This is the best one, this is gonna be our boldest statement as a band yet.” But with this one, we also made it when we were in between record labels, so we felt like we were kind of on our own in a fun, inspiring way. Then once we finished the record and started shopping it around to different labels, we ended up landing with Arts and Crafts, obviously. But it just felt like a really good way to communicate what this record was about. It’s an essential Hovvdy record that’s doing something bigger than we’ve done in the past.
WT: We also found it kind of challenging to find a phrase or a word that could embody all 17 songs, whereas in the past that’s felt a little less daunting. We discussed a lot of things, like maybe a longer title, maybe a title with five or six words in it. But whenever it came time to truly discuss it, the only really legitimate option felt like just calling it Hovvdy.
Did you feel compelled to take a step back and consider what makes Hovvdy Hovvdy, or was it more just about continuing to expand that definition, as I think both True Love and the billboard for my feelings EP did?
CM: I think with this one, it was the first time in a while that we’ve looked back at our previous records and what felt great about those – specifically Cranberry we referenced when we were talking about maybe what this record could sound like. Whereas with True Love and billboard we were always pushing to stretch things and move forward, maybe with this one we were a little more big-picture-minded about the band and the arc of how we’ve sounded over the years.
WT: What Charlie said, looking back at Cranberry and really liking some of those elements and trying to reconnect with that time in our band, and then also looking at an album that we did with Andrew Sarlo as well, True Love. That process was different because secondary was the relationship between the songs, almost, and it was like, “How can we make this song the best, the most impressive, the most attention-grabbing?” But for this one, we were like, “How can we make these songs have relationships to each other and flow together like a unit?” I think it’s really necessary when you make an album that’s a bit longer for them to all speak to each other a little bit more, and in our previous albums, that was less so the goal. I think we naturally found ourselves doing that with Cranberry, but with Heavy Lifting, with True Love, it’s almost like each song has its own little thing. We had the intention going in with Andrew and with Ben to redefine that a little bit, to do something different, and to envelop ourselves in the process of it.
With True Love, you talked about how working with Andrew Sarlo allowed you to focus on the songcraft and filter out moments that might be more about the vibe. Was that challenging with an album as sprawling as Hovvdy, to hone in on the songs and also zoom out and conceptualize them as a whole?
CM: With True Love, I remember specifically Sarlo saying, like, “I encourage you guys to dig as deep as you possibly can and be as vulnerable and real in the songs as you can, and worry less about making some vibey cool shit.” Whereas with this record, I think maybe we felt more comfortable and confident from the start, so that vulnerability was a fundamental quality of how we were going to go about it.
WT: The tapestry of the album kind of allows itself for there to be moments where it can be about a vibe and it can be about abstract emotion. I think that a lot of artists probably deal with this where when you’re an artist for long enough, or even if you’re a new artist, and you’re looking out and you’re seeing the things that are working, you see the trends or whatever, and it’s hard not to take those things in and to be in dialogue with yourself about those. There’s been a handful of times in our career where we have found ourselves trying to manage a desire to stay true to ourselves while we also want to grow and have a big song or have a big moment that people are responding to. I think what Sarlo discussed during the True Love process was more of a response to that. People want Hovvdy for what Hovvdy is, and the emotional vulnerability is part of that. For this new record, we were unclouded from that. It had its own set of challenges along the way, but we went in just knowing who we are as a band, more so than ever, knowing our strong suits and wanting to try new things within that. Whether it be doing a single vocal take, whereas we usually stack them, or just trying new things and having the dialogue be with ourselves rather than with what’s going on or what music is working at the moment. From my perspective, you can hear that comfortability and commitment on the album to just do what comes naturally rather than trying to respond to anything. I’m very proud of how this album lives and breathes and talks to itself, removed from the anxieties of looking outward. It’s more about looking in.
Compared to your last EP, what was exciting to you about making a double album but keeping some of the same variables, like working with the same people and exploring similar themes?
CM: It’s interesting to think about the EP because that one we did entirely remotely, so me and Will weren’t even together. I was in St. Louis, Will was in Texas at the time, Ben was in Asheville, North Carolina, and Sarlo was in LA. We just did it all completely remotely, whereas with this record, the four of us were together in the room for every session, and that was a first. We had never actually physically been altogether to do an entire record. That was really special and really essential to how the record sounds, really emphasizing live takes and collaborating a lot. It was a pretty brand new workflow for us. Someone was always in the background; Will would be inside doing an acoustic guitar or a vocal take, Ben would be outside with a field recorder or cassette recorder, capturing some sort of sound out there, and then I would be sitting in the corner while Will’s doing his vocal, with my headphones on, plugged into a synth, trying to create some sort of arpeggio. We were always building off of each other in a pretty organic, fun way.
WT: How it really began to be different was, I feel like Sarlo was at a place in his career and in his creative journey where he really wanted to be involved with our stuff, but almost said to us, like, “I love you all so much, but I just don’t want to do the same thing again with y’all. So if you want to do True Love again, I might not be the right person for the job.” When he said he thinks we could do something new and that would be the most exciting approach for him, it excited us as well. From the beginning, we did have that unique perspective, knowing we wanted to mess it up a little bit.
I think of a song like ‘Angel’, where the environment filters into the sound of the song, but there’s a clarity in the vocals that makes them feel even more exposed. They don’t blur into the atmosphere of the recording, which might have been the impulse in the past.
CM: Yeah, that song was fun. The song opens with a line about going for a walk with your partner during a hard time, so we had the idea to record the main vocal while I was literally walking down a path near this creek. In the second verse, you can hear a car alarm go off, and it’s perfectly in tune with the song, which was probably the craziest moment on the record for me. That was pretty early, the first session for the record, so a lot of little things happened where it felt like we were on the right path.
WT: I remember Charlie and I looking at each other when that happened, like, “What the fuck is that? [laughs]Why is that happening?”
All four of you were in the same space for every session, but the sessions were spread out over time and across the US. How did that factor into the different stages of the process?
CM: It was fun for us to all be in new and somewhat neutral environments. The first one we did in North Carolina, where Ben lives. We rented a small cabin outside of Asheville, about 15 minutes away. It was a place called Carrie’s Escape, and we set up a whole studio there. It was very woodsy.
WT: We need to go back. I think it’d be fun to go back to Carrie’s Escape and play some live songs or something. I feel like the energy for the whole album was laid out really nicely there, being a unit and eating together and doing everything together. As time went on, we went to Texas and our family homes, we stopped by Charlie’s folks’ house and then my mom’s house as well. In the last session, being in Los Angeles at Sarlo’s, we just wrapped everything up, and that had its own vibe too. I think we really needed that first trip to be dialed-in a little bit, insular, and then we got the mojo and were able to expand from there and follow that beat. The different spaces served different purposes throughout the trip, but we’re really grateful to have started with that North Carolina trip first.
Charlie, you’ve said billboard for my feelings allowed you to be guided more by feelings rather than the complexity of the storytelling. Gong into this record, I’m curious if that’s an approach you both still try to lean into, even when you’re working in the framework of a double album where you want the songs to be connected. Do you feel like that’s still your primary mode when you sit down to write a song?
CM: Yeah, I think so. With the EP, where I was at personally, I didn’t feel super compelled to write songs similar to ‘Blindsided’ on True Love, these songs that are more serious and clear in terms of what they’re about and what story that song tells about my life. Whereas with the EP, I was in a place where I was feeling some really strong and challenging emotions, but I wanted the music to do the talking more so than the lyrics. But with this record, it was sort of back to feeling like I had something to say. With the length of the record, it was fun to still be able to experiment and to really lean into different textures and a whole range of emotions.
WT: At times, I think I write with a tad less specificity than Charlie, where maybe a verse is a collection of thoughts rather than a concise statement. I feel like Charlie does a good job at making every word count. I still find myself doing that on this record, and there’s also just very straightforward songwriting. I went back and forth on that stuff, whereas on a lot more of my songs on these albums in the past, there are lyrical things that make sense to me or small memories that have all combined together, but when you just look at it as a listener, there’s not a very clear narrative; there might be moments you can kind of cling onto. As far as songwriting goes, a lot of my tendencies kind of happen to be the same throughout the catalog, and I would probably say that for Charlie, too. There’s probably more direct storytelling in the album, and we also tried to include some bigger moments that you can kind of get lost in. I’d say we approach songwriting in a pretty similar way, just slight differences being now in our thirties and being a band for almost 10 years. But at its core, I think we approach it similarly.
Were you surprised in any way by how the songs revealed themselves to be in dialogue with each other?
WT: When looking back at this album in the process of trying to write about it or prepare people to write about it, it really became evident after it was done and even mixed, where I was like, “Oh my gosh, all my songs are kind of about the same thing.” That thing being how challenging it is to be in a relationship and maintain that, and to be a dad and maintain that, and to be a person for myself, and to be a bandmate – every song is kind of about how challenging it is to take care of yourself and to take care of your loved ones. Even the songs that sound happy have insecurity and uncertainty all over them. I didn’t realize that until afterward.
CM: That tends to happen a lot with our records. Will and I will be in our separate worlds writing songs, and we’ll come together and realize there’s this common thread running throughout the whole record. To build on what Will was saying, I think organically, we were dealing with more adult issues, I guess dealing more with the present than looking back at the past. A lot of people associate us with this deep nostalgia, suburban teenhood, and in many cases, we find that a bit frustrating. Maybe that was true of the first few records, but as we’ve evolved as a band, we’re dealing with more serious subject matter in our songwriting. I don’t think it’s necessarily a conscious effort to break out of that, but with this record, we dove even deeper into the things we’re grappling with right now.
WT: That’s really well said. Our band is often referred to as nostalgic, as Charlie said, but the lyrical content, more than ever, reflects what’s going on right now in our lives. Whether it be a death in the family, which Charlie went through – there’s a handful of songs on the record about losing a grandparent and how one person can hold one side of the family together. There’s a lot going on, and it might be the first time that’s really true. Everybody, regardless of age, has a slew of things that make life challenging or interesting, but now we’re at a point in our lives where ignoring those things is not an option anymore. We have more clarity on the things in life that really do matter and try to put that down on paper.
I’m fascinated by the relationship between your music and time, which I feel comes as a result of that – you write about it as something we need and hand over, something that turns its back on you, the one thing we can’t outrun.
WT: Time is something I have a lot of anxiety about. I feel like I always write about it, just knowing that time is going away as we speak. Having a kid kind of saved me from losing track of all and savoring all these small moments.
I love the pairing of ‘Every Exchange’ and ‘Give It Up’ because it feels like those songs, with their extended outros, take the time to express and savour the feelings they’re about.
WT: I think those two songs are really special together too. The process of those songs was really fun. ‘Give It Up’ being a really new thing for us in our first session in North Carolina, doing it live with Charlie, doing the piano and vocal in one take and then the drums and bass in another take. I feel like the spirit of that song is kind of a poster child for the spirit of the album. It’s hard to say that the pairing wasn’t somewhat of a coincidence, but I really appreciate that you drew a line there, and sometimes we make those decisions without really knowing it.
Could you share something you learned from each other’s songs through the process of making Hovvdy?
WT: I really do love and continue to learn from how Charlie writes, that there really are no words that don’t matter. I often have a different approach where sometimes just the way the word feels coming out of my mouth is enough for it to stick, even if the word isn’t holding a lot of weight. Even outside of the really big lyrical moments like the chorus, moments that you obviously want to be noticeable and memorable – for instance, Charlie’s song ‘Forever,’ that’s a very memorable lyric – but the stuff surrounding it, that’s often where I fall off a little bit, and it’s where Charlie maybe takes extra time to find a detail. It’s always a good thing for me to hear Charlie’s songs in that way. Also, just the emotional depth – I feel like we both lean towards that naturally. It’s funny because I don’t listen to a lot of very emotional, serious music, and I often tease about it – Ben laughs at me because I’m often the more serious of the two songwriters, but I’m hardest on serious music. There’s obviously exceptions, there are songs that can be sad-feeling or emotional-feeling, but Charlie does a really good job of bundling these lyrics into joyful arrangements. I’ve certainly learned from Charlie on that one.
CM: That’s sweet. One thing I really admire about Will’s approach is this fundamental vulnerability. Coming into a recording session, I tend to be very much like a Virgo, with a set plan to execute this thing. It has proven to be a good method in the past, but I’ve always known I’m losing something if I’m not entirely open to collaboration and experimentation. What was cool about this process was it was inherently different from how we usually approach making records; it felt like we were having to meet in the middle more than ever. It was fun trying to work more like Will and to have some of that spirit shine through, the spirit of, “We could do it this way, but what if we try something else?” I was constantly pushing against my instinct to be like, “Yeah, but I know that if we do it this way it’ll work.” We had time to experiment, and it was fun to feel like it’s a more collaborative effort.
This interview has been edited and condensed for clarity and length.
Hovvdy’s Hovvdy is out April 26 via Arts & Crafts.
Les Savy Fav Share New Single ‘World Got Great’
Les Savy Fan have released ‘World Got Great’, the latest offering from OUI, LSF, the band’s first album in 14 years. It follows previous cuts ‘Legendary Tippers’, Guzzle Blood’, and ‘Limo Scene’. Check out its animated music video, directed by Jimbo Matison, below.
“Everything is so computer generated now, nothing seems sincere,” Matison reflected in a statement. “I wanted raw materials and simple ideas to do the talking. We also wanted to have a good time while making this, so why not get back to 1st grader basics? Can we make a video with cardboard, crayons, and a phone? Hell yeah, we can.”
“Did we buy a $4.99 bubble machine at the dollar store? Yeah, it lasted for about 30 minutes which was just enough time to shoot what was needed. That thing pumped mad bubbles while it worked,” he continued. “Can you see cat hair on the closeups? Absolutely. We are a little embarrassed by that, but hey, Skipper is a rad cat and we love him. The finale may look familiar as Fruity Pebbles were used as the colour scheme. It’s a vibrant coloured cardboard explosion. Does this video look ‘out of the box’? No. Is it boring? No. Mission accomplished.”
Oui, LSF is due out May 10 via Frenchkiss/The Orchard.
Nilüfer Yanya Shares Video for New Single ‘Like I Say (I runaway)’
Nilüfer Yanya is back with a new single called ‘Like I Say (I runaway)’, marking her signing to Ninja Tune. It’s her first new music since the release of 2022’s PAINLESS, and it arrives with a music video directed by Yanya’s sister Molly Daniel, featuring the musician as a runaway bride. Check it out below.
“It’s about how you choose to spend your time,” Yanya said of the track in a statement. Time is like a currency, every moment. You’re never going to get it back. It’s quite an overwhelming thing to realise.”
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Best Tips for Valorant Betting | Expert Picks & Strategies for 2024
Elevate Your Game: Expert Valorant Betting Strategies
Step into the thrilling world of Valorant betting with our detailed 2024 guide! If you’re eager to get started or aiming to sharpen your betting prowess, we’ve got you covered. From selecting top-notch crypto betting platforms recommended by industry experts like Isabelle Turner to decoding game dynamics that can swing odds in your favor, this article is your one-stop resource. Explore the distinct advantages of Valorant’s unique characters, pick up invaluable betting tips, and uncover what seasoned experts predict for the upcoming competitive season. Get ready to enhance your betting strategy and boost your chances of success in the exciting arena of Valorant esports this year!
Valorant Betting: Expert Picks and Strategies
As Valorant continues to carve out its niche in the esports industry, it’s becoming an essential part of the betting scene. Heading into 2024, the game is set to capitalize on its burgeoning popularity with more sophisticated analysis tools and refined betting platforms that cater to both enthusiasts and casual spectators. This evolution calls for a sharper understanding of both the game mechanics and the emergent betting culture surrounding it, making expert advice more crucial than ever.
Top Valorant Betting Sites
Crypto sports betting expert Isabelle Turner from SafeHamsters highlights a shift towards cryptocurrency in the betting world. For 2024, she recommends platforms that not only offer solid odds and comprehensive market coverage but also prioritize user security and quick transaction processes. These best Valorant betting sites are designed to enhance user experience, making them ideal for both seasoned gamblers and those new to the scene.
Placing Bets on Valorant Matches
Getting started with betting on Valorant matches can be straightforward if you follow a few fundamental steps:
- Choose a Trusted Betting Site: Opt for one that has a strong reputation for security and customer satisfaction.
- Learn the Odds: Understand how odds reflect the likelihood of different outcomes.
- Research Teams and Players: Familiarize yourself with the competitors’ past performances and recent form.
- Account for Match Settings: Consider how the match format and location could influence the result.
- Make Your Bet: Decide what type of bet fits your strategy and place it accordingly.
- Keep Tabs on the Game: Watch the match and be ready to adjust your betting strategy based on how the game unfolds.
Valorant Gameplay Essentials for Bettors
For bettors, a solid grasp of Valorant’s gameplay is indispensable. Valorant demands high strategic team play and individual skill, which directly impacts the outcome of games and thus betting results. Understanding these dynamics helps bettors make more informed predictions and recognize potential upsets.
Unique Valorant Features
What truly distinguishes Valorant from other shooters is the unique abilities of its agents. Characters like Jett, Sage, and Sova provide significant gameplay advantages that can influence team strategy profoundly. Knowing how these abilities can sway matches is vital for bettors looking to capitalize on game-specific knowledge.
Valorant Betting Tips and Strategies
Successful Valorant betting hinges on a few key approaches:
- Stay Current with Performance Trends: Keep an eye on how teams have performed in recent games to get a sense of their current form.
- Focus on Specific Teams or Events: Developing an in-depth understanding of particular teams or tournaments can give you a betting edge.
- Spread Your Bets: Consider placing various bets across different games to manage risk effectively.
- Monitor Game Updates: Stay informed about any changes to the game, as updates can significantly affect team strategies and the effectiveness of different agents.
Expert Predictions for Valorant
For 2024, esports analysts are forecasting a highly competitive year for Valorant, with an increase in participation from teams around the world. Experts predict that a team known for its strategic depth is likely to dominate, a new player is expected to make a significant impact, and teams will increasingly adopt complex strategic plays.
Conclusion: The Future of Valorant Betting
Valorant betting is on a trajectory to grow both more sophisticated and more engaging, thanks to advancements in technology and deeper analytical insights. As the community grows and the game evolves, bettors who continually adapt and deepen their understanding of Valorant’s strategic nuances will be best positioned to profit. With the game’s increasing complexity and global reach, staying informed and proactive is key to success in the world of Valorant betting.
What to Do If Your Commercial Vehicle’s Brakes Fail
Brake failure can be frightening regardless of the type of vehicle you drive. However, for commercial truck drivers, brake failure can be particularly terrifying as it makes them unable to control a vehicle weighing up to 80,000 pounds. The immense weight of commercial vehicles puts other motorists at severe risk if the truck’s brakes fail. As a trucker, the key to managing this situation is to remain calm, act effectively, and use methods to bring the vehicle to a controlled stop.
Stay Calm & Respond to the Situation
The first and most crucial step is to stay calm and focused on what’s going on around your truck. Panicking can make it nearly impossible to effectively react to the situation at hand. Try to take a deep breath and assess the problem in its entirety. As soon as a mechanical issue arises, activate your truck’s hazard lights. This alerts other motorists to your plight and allows them to stay out of your way, thus reducing the chances of a collision and costly truck accident lawsuit in Atlanta.
Attempt to Slow Down the Vehicle Gradually
Your vehicle’s brakes may have limited use or be entirely non-functional, but there are still tactics you can use to bring the truck safely to a stop. As you’re driving, gradually downshift to lower gears. By doing so, you employ the engine’s resistance to slow the vehicle down. You should be careful not to downshift too aggressively, as doing so can cause the engine to stall and give you another problem to solve.
Once you’re begun to noticeably reduce the vehicle’s speed, engage the emergency brake to further slow the truck down. Keep in mind that the emergency brake alone will not be sufficient to bring the truck to a full stop. Applying the emergency brake too forcefully or when you are moving at a high rate of speed can cause the wheels to lock. Make sure you’ve already begun to reduce the truck’s speed before engaging the emergency brake to avoid skidding or a rollover.
Use Auxiliary Slowing Systems
Some commercial trucks have additional systems that can help you overcome the loss of your vehicle’s brakes. If your truck has an engine brake, activate it according to the manufacturer’s instructions. An engine brake uses the vehicle’s engine resistance to create a slowing effect.
Some newer models of truck will also have a retarder system. A retarder is a hydraulic system that absorbs the truck’s kinetic energy and converts it into heat, effectively slowing down the vehicle. If your vehicle has this capability, be sure to review your owner’s manual before you encounter an emergency so you know when and how to use it effectively.
Safely Navigate to a Stop
As soon as your truck’s brakes fail, your goal is to bring the truck to a stop in a safe, controlled manner. Ideally, you want to get your vehicle away from the flow of traffic as well to reduce the risk of being hit by an inattentive driver. As you attempt to bring the vehicle to a halt, look for potentially safe areas or escape routes to pull over to. Ideally, aim for a designated emergency pull-off area or wide shoulder of the freeway with minimal traffic flow.
As you move your way out of the flow of traffic, use your traffic signals to warn other drivers of your intentions. Be cautious when crossing lanes and use the methods discussed above to continuously reduce your vehicle’s speed. Once you are close to a complete stop, do your best to get out of the active traffic lanes.
Contact Help and Assess the Situation
Once the truck has come to a full stop, call the local emergency service number to inform them of the situation. Clearly explain where your vehicle is stopped, the nature of the problem, and any potential hazards that would require a more urgent response. If anyone was injured or a crash occurred, be sure to report those details as well.
Once you’ve called for help, take stock of the situation. If you are not in immediate danger and you can safely wait inside the vehicle for assistance, do so. If there are any threats, such as a damaged fuel tank or a fire, cautiously evacuate the vehicle and find a safe location away from danger.
When emergency responders arrive, explain the situation clearly and concisely. Explain how and when the brake failure occurred, what you did to stop the vehicle, and whether anyone was hurt.
Staying Safe After an Unexpected Brake Failure
Brake failure is a serious situation in just about any circumstance. However, failing truck brakes can put everyone on the road in serious, imminent danger. If this situation happens to you, do your best to remain calm, in control, and aware of your surroundings. Even if your vehicle’s brakes are not fully functional, you can take steps to reduce your speed to a manageable level. We hope this article helps you stay safe if you ever experience this situation while driving!
Crumb Unveil New Single ‘The Bug’
Crumb have released a new single, ‘The Bug’, lifted from their upcoming album AMAMA. The band announced the record last month along with the title track. Check out ‘The Bug’ below.
“‘The Bug’ is a song that has existed in our universe since early Crumb days, pre-Jinx era,” the band’s Lila Ramani explained in a statement. “The origins go back to a motel in Nebraska on one of our earliest tours when I woke up with a bunch of bed bug bites. Wired and unable to sleep, I wandered around the motel singing what would become the outro to the song. Years later when we were finally recording it, it took on a more tender meaning…the bug doesn’t have to be an insect – the bug can be a friend, a lover, or that nagging feeling that finds you late at night”
AMAMA, the follow-up to 2021’s Ice Melt, comes out May 17 through Crumb Records.
