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The Afghan Whigs Announce New Album ‘Soft Control’, Share New Single

The Afghan Whigs have announced a new album, Soft Control, arriving August 21 via Royal Cream/BMG. The follow-up to 2022’s How Do You Burn? is led by the driving new single ‘Jungle Roux’. Check it out and find the album cover and tracklist below.

The band recorded the new LP at Fireside Sound in Joshua Tree, Marigny Studios in New Orleans, Gold Diggers Sound in East Hollywood, and Sycamore in Cincinnati. It features contributions from former Afghan Whigs drummer Patrick Keeler, vocalist/violist Petra Haden, Bo Koster (My Morning Jacket), and more.

“I’ve worked hard on my inner peace,” bandleader Greg Dull said in a press release. “I was an angry young man, and it fueled my art, ambition and my drive. I wouldn’t change anything because I can’t. But as I got into photography and other art forms, I realized that I’m not in competition with anyone – including myself. Now, I know what I’m doing and there’s a quiet confidence that comes with being able to back it up.”

Soft Control Cover Artwork:

_TheAfghanWhigs_SoftControl_4000x4000

Soft Control Tracklist:

1. Jungle Roux
2. House of I
3. Duvateen
4. My Lover
5. The Deepest Part of the Darkest Shadow
6. Mariah Luster
7. Memphis, Texas
8. 77
9. Loose Talk
10. A Simulation

Haiti, the World Cup, and Stella Jean’s Football Jerseys

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It’s that time of the year again. World Cup season is back, which only means one thing: my boyfriend disappears into a month-long relationship with a TV, and I get to decide if the jerseys’ colors look cute (sometimes I even branch out into haircut criticism) while my never-ending questions about that white ball that never quite looks white and the collective emotional breakdown of 90 minutes roll out. I might not fully get what a corner is, but boy do I get jerseys. Stella Jean does too.

Haiti has got quite the Stella Jean treatment this year. I still actively think about their Winter Olympic uniforms, which, luckily for everyone involved, the internet generously appreciated. Moving on to football, Italian-Haitian fashion designer Stella Novarino of Stella Jean is releasing L’Haitana, a line of limited-edition, carefully hand-stitched jerseys. And it feels appropriate, considering it’s been more than half a century since Haiti last appeared at the tournament in 1974.

Stella Jean Haitian football jerseys for World Cup season
@stellajean_sj_ via Instagram

“The #26 on the back marks a year of rebirth. 52 years later, we celebrate Haiti shining again on football’s biggest stage. It’s never too late to rise, to lift our heads, and make the impossible visible. If your flag does not fly this season… stand anyway. Stand for Haiti. Stand for all who still hunger for the only revolution needed: peace.” wrote the designer on her website, now open for pre-orders. “Wear the Caribbean. Wear it the Haitian way: bold, proud, unbreakable.”

Stella Jean Haitian football jerseys for World Cup season
@stellajean_sj_ via Instagram

Still, what really stood out was L’Haitana’s campaign and styling. The jerseys were paired with midi peplum skirts (whose silhouettes will be released in the next pre-collection), loyally following the legs while creating volume at the hips. But it wouldn’t be Stella Jean if the clash of patterns and palettes didn’t overwhelm you a little, in the best way possible. Mix in bold jewelry and a pair of face-swallowing sunglasses, and we’re convinced. I know I am, at least.

8 New Songs Out Today to Listen To: Vince Staples, Beth Orton, 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, June 2, 2026.


Vince Staples – ‘Cotton’

Ahead of the release of his new album Cry Baby on Friday, Vince Staples has shared one more single, the funky, hypnotic ‘Cotton’. It follows previous cuts ‘Blackberry Marmalade’ and ‘White Flag’.

Beth Orton – ‘Otherside’

Beth Orton has unveiled ‘Otherside’, the stirring closer of her forthcoming album The Ground Above. “I heard that the first birdsong of a new day is the sound of the birds letting it be known they are still here, that they have made it through the night alive and safe,” Orton explained. “With ‘Otherside,’ what began as a not so simple tale of sleeplessness went on to have me turning over bigger themes, those of resilience in the face of loss, what freedom means to the individual and the collective; the ability to start again and make beautiful a life when it has been torn apart. An embodiment of what it feels like to implore a loved one home, to make it through the night, or to make it through a day, to make good what we dare to dream.”

Death Cab for Cutie – ‘Stone Over Water’

Death Cab for Cutie have shared another single from her forthcoming album I Built You a Tower, which arrives later this week. The tender, patient ‘Stone Over Water’ follows ‘Riptides’ and ‘Punching the Flowers’. “‘Stone Over Water’ is a song about trying to convince everyone around you and most importantly, yourself, that you are okay when you definitely are not,” the band commented.

Belle and Sebastian – ‘It Only Takes One Lion’

Belle and Sebastian have released a studio version of their offering for Scotland’s World Cup anthem. “It’s a personal song about following the travails of Scotland’s national team for the last 50 years and it came out naturally the day after the game against Denmark,” Stuart Murdoch said of the tune, which was produced by Pete Ferguson, aka Wuh Oh. “The song tries to encompass the experience of the whole country following Scotland.”

Fenne Lily – ‘Uh Huh’

Fenne Lily has announced a new album, Win Win, with the gently affirming ‘Uh Huh’. “It follows the end of one love and the start of another, when you meet someone new but the residual pain from the time before is holding you back,” the Brooklyn-based artist explained. “Every breakup has felt like it’ll hurt forever but it’s always led me to something different, often better, never nothing.”

Meg Stalter – ‘GAY’

“Everything we do is slay,” Meg Stalter proclaims on her new single, ‘GAY’, released just in time for Pride. It’s the second preview of  the actess and comedian’s new album Crave, due later this summer.

Public Opinion – ‘When Kevin Gets Free’

Public Opinion have dropped a new song, ‘When Kevin Gets Free’, alongside a Jarrett Barnes-directed video. It’s taken from their forthcoming album The Curse of Public Opinion, which arrives August 7 via SideOneDummy.

Mykki Blanco – ‘Little Feet’

Mykki Blanco has announced a new album, CAFE PARADISO – out September 4 – sharing the groovy lead single ‘Little Feet’ along with the news. “If there is one thing I know how to do, it’s how to get the most out of life”, Blanco said in a press release. “You fuck up. You make mistakes. But hopefully, you’re achieving more than you’re fucking up. Overall, I would say I do well, milking life for all it’s got.”

Top App for Music Video in 2026: I Tested 5 Tools for an Indie Artist Release

Choosing the right App for Music Video in 2026 is no longer just about finding a tool that can generate attractive AI visuals. For independent artists, the real question is whether the app can turn a song into a complete visual identity. IFPI reported that music is central to 54% of all time spent watching videos on short-form video apps, which shows why musicians now need visual assets for more than one platform. A single release may need a full YouTube music video, TikTok teaser, Instagram Reel, YouTube Shorts cut, and a loopable visual asset. That is why I tested each ai music to video generator as a practical release tool, not just as a creative toy.

The test track included:

  • A soft vocal intro that needed close-up emotional delivery
  • A first verse with slower pacing and a more intimate visual mood
  • A stronger chorus that needed more movement, energy, and visual lift
  • A slow cinematic bridge with softer lighting and smoother scene transitions
  • A final chorus where the singer needed to stay recognisable on screen
  • A full six-minute structure, not just a short 15-second hook

This made the test more demanding than a simple AI video prompt. I wanted to see which App for Music Video could support a real release workflow: full MV generation, short-form cutdowns, character consistency, lip sync, and platform-ready visual assets.

App for Music Video Comparison Table

Tool Full-Song Structure /10 Lip Sync /10 Character Consistency /10 Beat & Mood Match /10 Short-Form Readiness /10 Creative Control /10 Value for Indie Artists /10 Overall
Freebeat 9.5 9 9 9 9 8 9 9
Neural Frames 7.5 5 7.5 8.5 7 8.5 7 7.3
Kaiber 7 5.5 7 8 8 7.5 7 7.1
Pika 6 5 6.5 7 8.5 7 8 6.9
Rotor Videos 6.5 4 6 6.5 7.5 6 8 6.4

The scores are based on how each music video maker handled the same release scenario. I looked at full-song structure, performance realism, visual consistency, beat awareness, social-readiness, creative control, and value for independent artists.

  1. Freebeat: Best App for Music Video for Full MV Creation

Full-Song Structure: 9.5/10

Freebeat handled the test track as one complete composition rather than a set of disconnected clips.

In the test, this was most noticeable in:

  • The intro, where the pacing felt slower and more atmospheric
  • The first verse, where the visuals stayed more intimate and performance-led
  • The chorus, where the visuals became bigger and more energetic
  • The bridge, where the mood shifted into a slower cinematic style
  • The final chorus, where the video still felt connected to the earlier sections

This made Freebeat feel more like a proper App for Music Video because the output followed the song’s structure rather than simply placing visuals over the audio. Its full-song analysis and section-mapped workflow helped the video feel closer to a complete MV.

Lip Sync: 9/10

Freebeat was strongest in the vocal-led sections. Its Singing MV mode is designed for performance-style music videos, with face-focused shots and around 90% lip-sync accuracy.

For the test track, this mattered because:

  • The singer appeared during the intro, chorus, and final chorus
  • The mouth movement needed to look believable
  • The performance had to feel connected to the vocal timing
  • The final chorus needed to feel like a real performance moment, not a random AI character clip

This gave Freebeat a clear advantage for musicians who want themselves, or a consistent artist character, to appear in the MV.

Character Consistency: 9/10

The artist identity stayed more stable across different scenes.

This was important because the test video moved through:

  • Different lighting styles
  • Different emotional sections
  • Different camera angles
  • Different visual intensities

Even with these changes, the performer still felt recognisable. That made the full MV feel more polished and less like a collection of unrelated AI shots.

Beat & Mood Match: 9/10

Freebeat’s beat-synchronised and rhythm-aware workflow helped the visuals react to the song’s energy.

The result felt stronger because:

  • Softer sections used slower movement
  • Chorus sections had more visual impact
  • Transitions felt more connected to the music
  • The emotional build of the song was easier to follow

This made Freebeat the most music-aware tool in the test. It felt less like a general AI video tool and more like an App to generate music video content around the song itself.

Short-Form Readiness: 9/10

Freebeat also worked well beyond the full MV. Its platform-ready export options support formats such as 16:9, 9:16, and 1:1, making it easier to prepare videos for YouTube, TikTok, Instagram Reels, and Shorts.

For a release campaign, this is useful because artists may need:

  • A full YouTube MV
  • A TikTok teaser
  • An Instagram Reel
  • A YouTube Shorts cut
  • A Spotify Canvas-style loop
  • Animated cover-style visuals using an Album Cover Generator

This made Freebeat more useful as a complete music video maker, not just a one-off AI video tool.

Creative Control: 8/10

Freebeat gave a good balance between automation and editing control.

The useful parts were:

  • Editable storyboard sections
  • Prompt-level refinements
  • Scene swapping
  • Selective regeneration
  • Multiple creation modes for different music video styles
  • Lyrics video support for artists who want text-led visual assets

For lyric-heavy artists, the wider workflow also connects naturally with tools such as a Rap Lyrics Generator. That matters because rap, pop, and vocal-led music often depend on lyric clarity as much as visual style.

Creative Director Take

Freebeat was the best App for Music Video in this test because it solved the full release problem. It supported full-song structure, lip sync, consistent character, beat-aware visuals, lyrics video creation, social exports, and wider release assets in one workflow.

Its strongest advantage was that it was built specifically around music-driven video creation. The uploaded brand narrative describes Freebeat as using full-song analysis, beat-synchronised visuals, section-mapped scenes, around 90% lip-sync accuracy, consistent character, six-minute music video support, lyrics video creation, and platform-ready exports.

  1. Neural Frames: Best Music Video Tool for Abstract Visuals

Full-Song Structure: 7.5/10

Neural Frames worked well when the track needed abstract visuals.

It was most useful for:

  • The bridge, where the brief needed a slower, atmospheric visual direction
  • The instrumental moments, where texture mattered more than performance
  • The sections where the visuals could be more experimental
  • Mood-building sequences that did not require a singer on screen

However, for the full six-minute structure, it required more manual planning. It could create strong sections, but the connection between intro, verse, chorus, and bridge needed more creative direction from the user.

Lip Sync: 5/10

Neural Frames was not the strongest choice for a vocal-led performance video.

For this test, the limitation became clear because:

  • The artist needed to appear during key vocal moments
  • The chorus needed believable performance energy
  • The tool felt stronger for visual reaction than singer performance
  • Lip sync was not central to the workflow

If the track were instrumental, electronic, or ambient, this would matter less. For a vocal-led MV, it made Neural Frames feel less complete as an App for Music Video.

Character Consistency: 7.5/10

Neural Frames offered decent visual consistency when the style was carefully controlled.

It worked better when I focused on:

  • Consistent colour palettes
  • Similar textures across scenes
  • Abstract or stylised visual worlds
  • A mood-first approach rather than a performer-first approach

The challenge was artist identity. Keeping a recognisable performer across the full video required more manual setup than Freebeat. It worked better when the artist was part of the visual world rather than the main singing figure.

Beat & Mood Match: 8.5/10

This was Neural Frames’ strongest area. The visuals felt connected to rhythm, atmosphere, and energy.

It performed especially well for:

  • Electronic-style sections
  • Ambient transitions
  • Slow visual builds
  • Abstract reactions to sound texture

For artists who want the video to feel abstractness rather than performance-led, Neural Frames can be a strong music video tool.

Short-Form Readiness: 7/10

Neural Frames can support short-form content, but it felt more useful for visual sequences than complete release packages.

I could see it working for:

  • Teaser clips
  • Stage visuals
  • Looping social posts
  • Visualisers for electronic tracks

However, more editing would be needed to turn the output into a full set of TikTok, Reels, Shorts, and YouTube assets.

Creative Control: 8.5/10

Creative control was a major strength. Neural Frames gave more room to shape visual direction compared with simpler tools.

The trade-off is effort. It rewards users who know what they want, but it may be less ideal for musicians who need a faster App to generate music video content with less manual setup.

Creative Director Take

Neural Frames is strong for artists who want strong abstract art and visual control. It is less convincing as a complete App for Music Video for vocal-led, performance-focused releases. I would use it for atmosphere, visualisers, and experimental sections rather than a full singer-led MV.

  1. Kaiber: Strong App to Generate Music Video Concepts with Stylised Visuals

Full-Song Structure: 7/10

Kaiber was useful for building a stylised visual direction, especially around the chorus and more energetic sections of the test track.

It worked well for:

  • Strong visual moments
  • Stylised transitions
  • Mood-led music video concepts
  • Early creative exploration before final editing

However, the full six-minute structure required extra planning. The scenes could look good individually, but the overall MV needed more manual editing to feel like one complete visual journey.

Lip Sync: 5.5/10

Kaiber was not the best option for accurate singer performance.

For this test, that mattered because:

  • The song had vocal-led sections
  • The artist needed to appear during the chorus
  • Close-up performance shots needed believable timing
  • The final chorus needed emotional delivery

Kaiber felt more suitable for stylised visuals than close-up vocal performance.

Character Consistency: 7/10

Kaiber performed reasonably well when the visual style was clearly defined.

It was useful for keeping:

  • A consistent colour direction
  • A similar mood across short sections
  • A recognisable aesthetic
  • A strong visual concept for the campaign

The weakness appeared when the same artist character had to remain stable throughout the full MV. For short-form teasers, this was acceptable. For a six-minute performance-based video, it required more manual control.

Beat & Mood Match: 8/10

Kaiber did a good job of matching the song’s visual energy.

It was strongest during:

  • The chorus
  • The more dramatic visual moments
  • Stylised motion sequences
  • Sections where mood mattered more than exact structure

As an ai music to video tool, it felt more expressive than purely template-based options. The output had energy, but it still needed manual direction to become a complete music video.

Short-Form Readiness: 8/10

Kaiber is useful for short-form visual content.

For a release campaign, I would use it for:

  • TikTok teasers
  • Instagram Reels
  • YouTube Shorts
  • Visual concept clips
  • Campaign mood pieces

It can help artists create striking clips quickly. However, it is less ideal if the artist needs one tool to handle the full MV, performance shots, and multiple export needs.

Creative Control: 7.5/10

Kaiber gives enough creative control for artists who want to guide the mood and visual direction.

It is especially useful when the brief is:

  • Cinematic
  • Surreal
  • Futuristic
  • Dreamlike
  • Colour-driven

However, when the test required exact structure and performer consistency, the workflow felt less precise than Freebeat. It was creative, but not as complete.

Creative Director Take

Kaiber is a good music video maker for stylised concepts and social visuals. It is strong for creating mood, colour, and motion, but less complete as a full App for Music Video for musicians who need lip sync, stable characters, and full-song structure.

  1. Pika: Fast App for Music Video Experiments and Short-Form Clips

Full-Song Structure: 6/10

Pika was strongest when used for short creative clips. It helped generate quick visual ideas for specific moments in the track.

It worked best for:

  • Chorus hooks
  • Short teaser concepts
  • Visual experiments
  • Social-first clips

For the full six-minute video, it felt less natural. The workflow was more clip-based than song-based, so I had to think about how the scenes would connect manually. That made it less suitable as a complete App for Music Video.

Lip Sync: 5/10

Pika was not the strongest tool for vocal performance.

The issue was that the test needed:

  • A believable singer on screen
  • Consistent performance energy
  • A convincing final chorus
  • Stronger connection between voice and face

Pika can generate interesting short clips, but it did not feel focused on accurate singing shots.

Character Consistency: 6.5/10

Character consistency was possible for shorter clips, but harder across a longer video.

It required careful checking because:

  • The same performer had to appear across multiple sections
  • Visual style could shift between generations
  • Short clips looked better individually than as one full MV
  • Continuity depended heavily on prompt control

This was manageable for a TikTok teaser or short visual concept. Across a full song, it became more difficult to maintain a single recognisable artist identity.

Beat & Mood Match: 7/10

Pika handled mood-based prompts well. It could create clips that matched the emotional tone of specific sections.

It was useful for:

  • Quick mood exploration
  • Chorus energy clips
  • Short cinematic moments
  • Visual ideas inspired by the song

However, the connection to beat and full-song progression was less direct. The visuals felt more like creative clips inspired by the song than a structured App to generate music video output.

Short-Form Readiness: 8.5/10

Short-form readiness was Pika’s strongest area. It was fast, flexible, and useful for generating clips that could work on TikTok, Reels, and Shorts.

For independent artists, this speed has value because they may need:

  • Multiple hook tests
  • Different visual concepts
  • Fast social content
  • Short clips before release week

Pika fits that need well.

Creative Control: 7/10

Pika gave enough control for short experiments. It was easy to test visual ideas quickly and change direction when something did not work.

The limitation was continuity. Creative control felt useful at the clip level, but less effective when trying to build a complete six-minute music video with consistent pacing and identity.

Creative Director Take

Pika is a useful App for Music Video experimentation, especially for short-form campaigns. It is not the strongest option for full-length music videos, but it works well when artists need quick social clips and visual ideas.

  1. Rotor Videos: Practical Music Video Maker for Simple Release Assets

Full-Song Structure: 6.5/10

Rotor Videos felt more practical than experimental. It could support a basic release video, especially when the artist needed something simple and clean.

It worked best for:

  • Basic music visualisers
  • Straightforward promotional videos
  • Simple release assets
  • Artists who do not need heavy customisation

For the full six-minute test, it was usable but not especially cinematic. The structure felt more straightforward, and it did not create the same sense of scene progression as the stronger AI-led tools.

Lip Sync: 4/10

Lip sync was not a major strength. Rotor Videos is better understood as a practical music video tool than a performance-led AI MV platform.

For this test, that was a limitation because:

  • The artist needed to appear on screen
  • The chorus needed performance energy
  • The vocal timing mattered
  • The final MV needed stronger singer identity

For instrumental tracks, simple lyric videos, or basic promotional visuals, this may not be a problem. For a singer-focused MV, it was the weakest part of the test.

Character Consistency: 6/10

Rotor Videos could maintain a clean visual style, but it was less suited to building a consistent AI performer across multiple scenes.

It felt better for:

  • General release visuals
  • Simple artist promotion
  • Template-style video assets
  • Visualisers without a central character

The output worked when the artist did not need a detailed on-screen identity.

Beat & Mood Match: 6.5/10

Rotor Videos handled basic music alignment, but it did not feel as sensitive to the emotional arc of the track.

The main gaps were:

  • The chorus did not feel dramatically bigger
  • The bridge did not feel as cinematic
  • The final chorus lacked stronger visual payoff
  • The overall result felt more functional than expressive

It could support a release, but it did not add as much creative interpretation.

Short-Form Readiness: 7.5/10

Rotor Videos was reasonably useful for simple social assets.

It can help musicians create:

  • Promotional clips
  • Basic release videos
  • Simple social cutdowns
  • Visualisers for online sharing

For artists who want quick, uncomplicated release visuals, that is useful. However, it is less exciting for artists who want a distinctive App for Music Video with cinematic storytelling and strong performance realism.

Creative Control: 6/10

The workflow was simple, which is both a strength and a limitation.

It works best for users who want:

  • Fast setup
  • Clear templates
  • Simple editing
  • Low learning curve

If the goal is speed and simplicity, Rotor Videos works. If the goal is a highly customised ai music to video output, it may feel limited.

Creative Director Take

Rotor Videos is practical for simple release assets, visualisers, and basic promotional content. It is not the most advanced App for Music Video, but it can work for musicians who value ease of use over deep creative control.

Final Verdict: The Best App for Music Video in 2026

After testing all five tools, Freebeat was the best App for Music Video for musicians in this release scenario. It did not just create good-looking visuals. It handled the specific needs of the test: a full six-minute song, vocal-led performance, consistent artist identity, beat-aware structure, short-form cutdowns, and release-ready exports.

Neural Frames was strongest for abstract visual control. Kaiber was strong for stylised music video concepts. Pika was useful for fast short-form experimentation. Rotor Videos was practical for simple release assets. Each tool had a clear use case, but Freebeat was the most complete music-first workflow.

MIDiA reported that TikTok is one of the main music discovery sources for 51% of 16 to 24-year-olds, compared with 37% of overall consumers. That makes visual identity more important for artists, especially when songs travel across social platforms before listeners discover the artist behind them. The best App for Music Video in 2026 should help musicians build that identity across full videos, short clips, lyrics content, and social assets. In this test, Freebeat gave the strongest overall answer.

YHWH Nailgun Announce 11-Minute New Album ‘Magazine’

YHWH Nailgun have announced a new album that clocks in at – you read that right – 11 minutes. Marking the experimental band’s 4AD debut and the follow-up to last year’s 45 Pounds, it’s called Magazine, and it’s out June 11. There’s no single to accompany the news, but you can check out the LP’s cover art and tracklist below.

Magazine Cover Artwork:

YHWH_magazine packshot (3).

Magazine Tracklist:

1. Ghost of Love
2. Stillness Blues
3. Innocent Sigh
4. Hips on a Wheel
5. Ballerina
6. Give Blood
7. Magazine
8. Sewer Tree
9. Burns
10. To The Devil

The Best Songs of May 2026

Every week, we update our Best New Songs playlist with several tracks that catch our attention, then round up the best songs of each month in this segment. Here, in alphabetical order, are the best songs of May 2026.


Ariana Grande, ‘hate that i made you love me’

Ariana Grande isn’t keen on flexing her vocals on ‘hate that i made you love me’. Her low-key delivery sounds like it’s actively reining in Max Martin and ILYA’s production – all those bubbly flourishes can barely distract from how mid-tempo it is. If she wants a hit out of it, Grande will have to make it look like she stumbled over it, keying in the “I I I” to access a secretly infectious chorus. ‘hate that i made you love me’ may be downcast, but it’s pointedly steeped in regret, at one point twisting its intimacy to hold a mirror up to her audience: “Is it really my fault you all gave me your hearts of your own accord?” she sings, making a case for the lead single to petal as her own ‘Anti-Hero’. Nothing about it is half-ironic or even rhetorical, though, as she answers bluntly, “I don’t really think so.”

Charli XCX, ‘SS26’

As a mission statement, ‘Rock Music’ was an interesting point of conversation that was bound to be divisive. But whether ‘SS26’ is genuine, satirical, or a bit of both has little to do with whether the second single from Music, Fashion, Film is actually enjoyable. Knowing the title of the album, ‘SS26’ scans more like a mission statement than its predecessor, dryly despairing over the artistic facade of any industry while having at least some fun walking the “runway to hell.” Though subdued, the instrumentation offers more layers of distortion to chew on, and the hook brings out the vulnerability in her filtered voice. If BRAT still clings to its relevance wherever you spend your summer this year, ‘SS26’ might be the tune stuck in your mind and really expressing how you feel.

Kim Petras, ‘Jeep’

Can the booming alt-country scene make some space for Kim Petras? ‘Jeep’ may be the best song the genre produces this year, charmed by the same simple pleasures that animated Kevin Morby’s Little Wide Open this past month – in Petras’ words, “the middle America shit.” In the music video, her boyfriend is played by Porches’ Aaron Maine, who is at least partly responsible for sending the song to the stratosphere as a producer. As the song’s cynicism gives way to fantasy, a puddle of synths reanimates a brain on amphetamines, Four Lokos, and Monster – the white one. Your friends are right: they’re bad for you. But sometimes, this strange mixture of nostlagia is better than the real thing.

Olivia Rodrigo, ‘the cure’

If ‘drop dead’, the first single from Olivia Rodrigo’s new album, was about the joyful rush of infatuation, ‘the cure’ might trick you into thinking it’s about heartbreak. Instead, it finds the pop star burrowing inward to unravel the insecurities that no amount of romantic affirmations can drown out. Strummed acoustic guitar and lush strings soundtrack her intrusive thoughts, lending credence to the title you seem pretty sad for a girl so in love. There’s no enemy or even a real object of jealousy here; Rodrigo is struggling against herself, and ‘the cure’ beautifully externalizes that battle.

Rostam, ‘Hardy’ [feat. Clairo]

There’s a part of ‘Hardy’ that feels like an outlier on Rostam’s new album American Stories, and there’s a part that seems to epitomize his sound. Maybe it has something to do with the song’s own ambivalent perspective, the way it oscillates – over a sweeping sample to the score to Truffaut’s 1973 film Day for Night, no less – between believing in fate and numbing out on oblivion, observing how it affects not just his own art but the ones around him. And so he reunites with Clairo, taking a break from the dizziness of the arrangement to let her spiritual affirmations seep through. But it’s these lines he sings himself that feel most potent: “Maybe the greatest art is never completed/ We only have to leave it knowing we tried.” The effort leaves the song feeling anything but hardened.

Wild Pink, ‘Round of Applause at the End of the World’

“I don’t know what my idea of fun is anymore,” John Ross sighs on ‘Round of Applause at the End of the World’, the lead single from his forthcoming Wild Pink album Still Coming Down. The personal confession cuts through a string of hyper-specific references that seem to amount to a grand conspiracy but only serve to underline the narrator’s disaffection. Yet Ross’ post-apocalyptic vision is buoyed by an accordion riff that should instantly make any crowd cheer, not to mention Xandy Chelmis’ always-inviting pedal steel. Some fun is being had, even as it appears distant and undefinable.

Designer Yue Fan on Designing Technology That Understands People

Currently, artificial intelligence, wearable devices, and spatial computing technologies are accelerating their implementation, driving a new transformation in human-computer interaction toward ubiquitous, and integrated experiences. Traditional interaction paradigms are gradually being disrupted, and digital technology is no longer confined to device interfaces; instead, it deeply penetrates human perception, everyday behavior, and life scenarios, reconstructing the way humans connect with intelligent devices.

Amidst this industry transformation, the core logic of design is also undergoing a fundamental shift. The industry is moving away from mere visual upgrades of interfaces, toward creating experiences that are more context-aware, and integrated into everyday life. How technology can better understand human behavior, support wellbeing, and integrate naturally into daily routines across devices and environments has become a central theme in contemporary digital experience design.

Yue Fan, a designer  working at the intersection of merging technologies and human-centered experience design, exemplifies this transformation. exemplifies this trend.Currently working on digital health and wearable experiences at Samsung, she designs cross-device experiences that make complex information more intuitive for users worldwide. Her broader practice spans AI, spatial computing, and multimodal interaction. Her leading work, the URSA concept design project, has been recognized with prestigious international awards, including the Muse Design Award, the New York Product Design Award, and the Indigo Design Award, for its innovative design philosophy and practical value.

At the 2026 Indigo Design Awards, in addition to receiving a Gold Winner distinction, URSA was also selected as a finalist for “Digital Design of the Year” alongside internationally recognized projects such as the Samsung Galaxy S26 Ultra website and the Oura Ring app. The Digital Design category included 55 winning projects in total, but only five advanced to the final shortlist. Other finalists came from globally recognized design organizations including Cheil, The Barbarian Group, and Instrument, while URSA was the only finalist focused on future human-computer interaction.

URSA is not simply about interaction in futuristic space environments, but a far more immediate question: how intelligent systems should support people in high-pressure environments without constantly interrupting them.

Its hands-free interaction model, adaptive guidance system, and non-intrusive information design all address a larger challenge facing future intelligent systems: how technology can help people perform complex tasks more safely and efficiently in demanding environments.

These principles also extend beyond space exploration into fields such as healthcare, emergency response, industrial maintenance, and digital health, where users are often required to process large amounts of information under conditions of limited attention and mobility. In these contexts, reducing cognitive burden and minimizing unnecessary distractions are becoming increasingly important aspects of human-AI collaboration.

In Yue Fan’s view, the future of human-computer interaction will gradually shift away from simply operating interfaces toward understanding people — their cognition, behavior, and how attention shifts in real-world environments.

That perspective is deeply connected to her background.

Before entering the fields of user experience and emerging technologies, Yue Fan studied landscape architecture before later pursuing design at the University of California, Berkeley, where her work focused on human-computer interaction and emerging technologies. Rather than viewing interfaces purely as visual layouts and information structures, she became increasingly interested in how information exists within human environments, and how technology relates to human behavior, perception, and attention.

“Many digital systems are still designed around constantly competing for people’s attention, even though human attention is fundamentally limited,” Yue Fan explains. “Effective interaction is not simply about making systems more powerful. It’s about understanding what people actually need in different situations.”

That line of thinking eventually became the conceptual foundation for URSA.

In high-pressure environments such as space exploration, astronauts must simultaneously manage navigation, environmental hazards, procedural tasks, and team communication, even as human attention remains limited. Under these conditions, increasingly complex interfaces do not necessarily improve performance. In many cases, they become an additional source of cognitive strain.

URSA attempts to address this challenge by exploring how critical information can appear at the right moment while minimizing unnecessary interruptions.

Unlike traditional interfaces that continuously compete for user attention, URSA explores a more contextual interaction model in which systems dynamically adapt how information is presented based on user tasks and environmental conditions. Its spatial guidance system, multimodal interaction approach, and AI-driven contextual awareness are not isolated features, but part of a broader approach to interaction design focused on reducing unnecessary cognitive load while allowing users to remain engaged with the real environment around them.

From AI systems to wearable devices, technology is gradually shifting from being a tool people actively operate into something increasingly integrated into everyday life. Yue Fan’s design practice continues to revolve around a central question: how intelligent systems can provide meaningful support while still respecting human cognition, attention, and the rhythms of everyday life.

Top 12 Best Shoes for Plantar Fasciitis Worth Buying in 2026

Plantar fascia pain often shows up as a sharp, first-step sting near the heel, then lingers as a deep ache with walking. Shoes will not fix tissue irritation alone, yet smart footwear can lower impact and steady the foot during long days. For 2026, the strongest picks share a secure rearfoot, true arch support, and cushioning that keeps its shape. The list below covers errands, runs, shift work, and indoor wear.

What Matters Most in 2026

Pain often flares after foam packs down, the rearfoot drifts, or arch support collapses under body weight. Any list of best shoes for plantar fasciitis should prioritize mechanics over appearance. Look for a firm heel cup, controlled midfoot stiffness, and forefoot room for natural toe spread. Removable liners also help fit orthotics without crowding.

1) Hoka Bondi 9

High-stack cushioning can soften ground reaction forces on concrete. A rockered sole encourages a smoother roll, limiting abrupt loading under the arch. Broad platform width improves balance during fatigue, which helps later in the day.

2) Brooks Adrenaline GTS 25

Stability elements can limit inward roll that strains the fascia. Guide-style support feels structured without harsh rigidity for many walkers. A firm rearfoot counter helps keep alignment steady during longer outings.

3) ASICS Gel-Kayano 31 (or newer current model)

Controlled motion support suits feet that drift inward under load. Gel cushioning reduces peak impact, while midfoot structure resists torsion. Secure heel shaping can help reduce tugging near the calcaneus during push-off.

4) ASICS Gel-Nimbus 26

A plush underfoot feel can ease tenderness during the early steps after rest. Smooth transitions reduce abrupt pressure changes across the arch. Neutral alignment works well for many people who need shock absorption without extra guidance.

5) New Balance Fresh Foam X 1080 (current version)

Soft foam helps when it stays consistent across weeks of wear. Fit options, including wider builds, can prevent toe gripping that alters gait. A stable rear section also supports a steady walking pace during errands. a steady

6) New Balance 990v6

A structured platform often feels better than overly compressible cushioning for persistent symptoms. This model tends to hold shape, reducing the “bottomed out” feel that can reignite soreness. Daily use fits well for people who want support without a running-only look.

7) Brooks Ghost 16

Balanced cushioning supports neutral mechanics without feeling unstable. Predictable flex can reduce compensatory limping that loads the opposite side. Many choose it for mixed days with light jogs plus plenty of walking.

8) Saucony Triumph (current version)

Cushioning stays protective for longer walks, yet the base remains steady. A supportive rearfoot fit limits side motion that can irritate tender tissue. Comfort tends to work well for people who prefer a softer ride.

9) Saucony Omni (current version)

Extra guidance can help with a pronounced inward roll during standing shifts. Underfoot support reduces strain across the arch during slow, repetitive steps. The heel area stays structured, which often feels better during first steps in the morning.

10) Kuru Quantum

Deep heel containment can reduce focal pressure at the sore spot by stabilizing the calcaneus. Arch support is pronounced, which may help limit excessive foot flattening. Everyday wear is a common use case, especially for routine walks.

11) OOFOS Ooahh (or similar recovery slide)

Hard floors at home can quietly trigger flares between outdoor outings. A recovery slide with real arch contour supports the foot during short household trips. Keeping a pair near the bed can reduce painful first-contact steps.

12) Birkenstock Arizona (or similar cork footbed sandal)

Firm cork contour supports the arch better than flat sandals for many feet. The footbed molds gradually while staying supportive rather than collapsing. Secure fit matters, since loose sandals encourage gripping and altered stride.

Quick Fit Checks Before Buying

A helpful pair twists minimally through the midfoot and bends mainly at the forefoot. Press the back counter; it should feel firm rather than pliable. Check toe room since cramped spacing changes push-off mechanics. Try shoes later in the day to account for swelling. Rotating two pairs can let midsoles rebound between wears.

Conclusion

Better shoes reduce stress on irritated tissue, yet long-term relief usually needs a wider plan. Calf flexibility, intrinsic foot strength, and gradual step volume changes can lower recurrence risk. Indoor support matters, since barefoot walking on hard surfaces loads the fascia repeatedly. If sharp pain persists beyond several weeks, or function drops, a clinician can check gait and rule out other diagnoses. With proper fit and steady habits, comfortable walking is realistic again.

Fenne Lily Announces New Album ‘Win Win’, Shares New Single ‘Uh Huh’

Fenne Lily is back. The Brooklyn-based singer-songwriter will release her fourth album, Win Win, on October 23 via Nettwerk. Today’s announcement comes with the release of the tenderly affirming new song ‘Uh Huh’. Check it out below.

“It follows the end of one love and the start of another, when you meet someone new but the residual pain from the time before is holding you back,” Lily said in a statement about ‘Uh Huh’. “Every breakup has felt like it’ll hurt forever but it’s always led me to something different, often better, never nothing.”

“If I only have this one life it should take the shape I’m in,” Lily sings on track. “I was in a good place when I wrote ‘Uh Huh’ and writing this line particularly proved that to me,” she added. “I was shocked that I meant it, shocked at how much had changed. It needed to be solid, sound strong and sure of itself. From the start this one leaned more country than the songs I’d been writing, though. Like I’d absorbed some of the America I live in now. British country music…”

Fenne Lily’s last album was 2023’s Big Picture. Revisit our Artist Spotlight interview with Fenne Lily.

Win Win Cover Artwork:

Win Win cover

How Film Editor Yuntong “Hazel” Dai is Shaping Cross-Cultural Narratives in TV and Cinema

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In the seamless world of filmmaking, the film editor acts as both a screen surgeon and a storyteller. While the role lacks the overt glamour of directing or acting, it is where a film’s emotional heartbeat is truly found. For Yuntong “Hazel” Dai, an accomplished editor with an MFA from the American Film Institute, cutting film is less about technical assembly and more about the psychological mapping of human behavior.

With an educational foundation from New York University and AFI, Dai’s approach has been shaped by mentorship under industry veterans like Anne Goursaud, ACE, a highly regarded editor who collaborated closely with Francis Ford Coppola. Today, her work spans international festivals like Riga and Moscow, defined by a singular ability: turning hyper-local, culturally specific stories into narratives that resonate universally.

Discovering the Language of the Edit

Dai realized editing was her calling when she saw it transcended technical software. Her career took a definitive turn when she was selected for the FIRST International Film Festival Talents Training Camp in Xining, China—an intensive 10-day incubator where emerging filmmakers produce short films under the mentorship of world-renowned directors like Lou Ye, a leading figure of China’s Sixth Generation of directors.

“I began to understand that editing was the place where my instincts were most useful—listening to people, reading behavior, and shaping emotional rhythm,” Dai says. “I wanted a career where I could listen closely to human behavior and shape stories with both precision and empathy. Editing gave me that language.”

Her camp project, Taste of Tea, went on to screen at the Moscow International Film Festival. The short paired acclaimed Chinese actor Jian Li with an elderly, non-professional Hui man, using a traditional tea ceremony as a narrative anchor.

“In the film, the tea tradition is not just a cultural symbol; it is a way of holding human relationships,” Dai explains. “The contrast between the actors helped preserve the rawness of Xining and the Hui community. My role was to let those two performance rhythms meet while balancing a documentary-like shooting style. The ceremony became a quiet language for things people cannot easily say.”

Finding History in the Unspoken

Dai’s post-production philosophy is rooted in a fascination with the unspoken. She treats film not merely as a record of events, but as a window into the psyche. “I am drawn to that space where history is not explained from above, but felt through memory, silence, misunderstanding, and desire,” she says.

This approach anchors her work on Hi, Marilyn. Set in Macau during the volatile pre-1999 transition period before its return to China, the film filters massive political shifts through the private reality of a young boy whose imagination is stirred by a rumor of a mysterious girlfriend.

“As the editor, my role was to make sure the historical setting never overwhelmed the boy’s emotional journey,” Dai says. “I wanted the audience to first feel his loneliness, fantasy, and desire to be seen. Social and political issues become meaningful in cinema when they are experienced through human behavior. The politics and geography are there, but they live through the character.”

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Transcending Labels and Formats

Dai’s filmography moves fluidly across genres and constraints. In Song of Silence, a sci-fi drama set in a post-war future, a mother in a hidden village of women must choose between protecting her son or safeguarding her community. Performed by an all-deaf female cast, the film relied entirely on gesture, gaze, and spatial tension rather than spoken dialogue.

“The emotional question reaches beyond identity alone: what do we owe to the people we love, and what do we owe to the people who depend on us?” Dai notes. “I worked closely with the director to shape the film beyond its labels—not only as a feminist or deaf-led story, but as a deeply human dilemma.”

That ability to protect a director’s vision under intense pressure was tested on Drifting, South, which follows several marginalized lives intersecting in Guangzhou’s Xiaobei area. Shot on 16mm on a micro-budget, the project arrived in post-production facing major practical hurdles, including missing narrative footage and out-of-focus imagery.

Instead of viewing these as flaws, Dai used montage and rhythmic cutting to reconstruct the film’s “emotional logic,” preserving its gritty, authentic texture. The solution paid off: the film won Best International Short Film at the Riga International Film Festival.

“Winning at Riga was meaningful because it showed that a very local, independent Chinese film could resonate internationally,” Dai says. “For me, the work was about helping the film keep its raw texture while finding a structure strong enough for audiences outside its immediate context.”

With a portfolio that includes award-winning films like Between the Moon and the Son and Non-stop Station, alongside a commitment to shaping the next generation of filmmakers as a teaching assistant at AFI, Dai continues to prove that editing is far more than a post-production step. “I knew this was my path when I realized that editing was not simply technical,” she notes. “It is where psychology, rhythm, and structure meet.”