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Neo-Vegas: How Gen Z is Redefining Casino Culture with Innovation and Experiences

Our Culture Mag & Partners
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Neo-Vegas: How Gen Z is Redefining Casino Culture with Innovation and Experiences

Las Vegas has always been a city of reinvention, but now it’s facing a transformation unlike any before. As Gen Z enters the spotlight, they’re reshaping the casino culture we thought we knew. Forget the smoky poker tables and endless rows of slot machines. This new wave of visitors is bringing fresh energy, tech-savvy preferences, and a desire for experiences beyond the traditional.

We’re seeing a shift where entertainment, social connection, and digital innovation take center stage. From immersive gaming lounges to cashless transactions and Instagram-worthy aesthetics, Gen Z is redefining what it means to spend a night—or a weekend—in Vegas. It’s not just about gambling anymore; it’s about creating memories and embracing a lifestyle that aligns with their values. This transformation mirrors broader trends in digital entertainment, with top online games to watch in 2025 setting new standards for immersive and community-driven experiences, highlighting how innovation continues to shape the future of leisure.

This evolution marks a pivotal moment for the city, and we’re diving into how Neo-Vegas is changing the game for everyone.

The Rise Of Neo-Vegas

Las Vegas is evolving into Neo-Vegas, a hub for Gen Z-driven cultural shifts. This generation values experiences over tradition, propelling the city to redefine itself with creative innovations. Casino floors now feature e-sports tournaments and interactive virtual reality-based attractions, appealing to younger audiences seeking engaging activities beyond slot machines and card tables.

Nightlife trends are also adapting, with venues blending live music, art installations, and gourmet dining. Technology is central to Neo-Vegas, where mobile apps streamline hotel stays, event booking, and digital wallet gaming. Gen Z prioritizes inclusivity and sustainability, reflected in eco-conscious resorts and diverse entertainment options that challenge conventional boundaries. This transformation represents a broader cultural reimagining of Las Vegas, embracing modernity while leaving outdated practices behind.

Gen Z’s Influence On Casino Culture

The rise of Gen Z is shifting traditional casino culture towards dynamic experiences that redefine the industry. Younger players favor entertainment, community engagement, and modernized systems over conventional gambling preferences. For example, exploring Online Casino Bonuses tailored to their interests highlights how casinos are adapting to meet the expectations of this new generation of players.

The Shift Towards Entertainment Over Gambling

Entertainment is increasingly prioritized over staking chips and spinning reels. Gen Z frequents venues not just for gambling but for immersive events such as e-sports competitions, live performances, and interactive displays. Casinos now integrate multi-sensory activities designed to captivate rather than depend on traditional gaming-only atmospheres.

Embracing Technology And Innovation

Innovative technologies are reshaping how Gen Z interacts with casinos. Features like mobile payments, personalized apps, and augmented reality games enhance engagement while simplifying the experience. Tech-savvy operators incorporate cutting-edge elements that blend immersive realities with seamless connectivity, accommodating a generation that values convenience and digital integration.

Redesigning The Casino Experience

Gen Z’s expectations are driving a transformation in the casino industry. Their demand for digital integration, interactive entertainment, and meaningful social connections has prompted casinos to rethink their traditional formats and embrace innovation.

The Role Of Social Media In Shaping Perceptions

Social media heavily influences how Gen Z views casinos. Platforms like Instagram and TikTok are key for showcasing visually striking spaces, high-energy events, and unique gaming experiences. Viral content, especially posts featuring e-sports competitions and interactive attractions, enhances a casino’s appeal to this audience. Online reviews and influencer endorsements also shape perceptions by highlighting cutting-edge offerings and addressing their priorities.

A Focus On Inclusivity And Sustainability

Inclusivity and sustainability significantly impact Gen Z’s casino preferences. Resorts are adopting green practices by integrating renewable energy, reducing waste, and implementing eco-friendly designs to attract environmentally conscious visitors. Inclusivity-focused initiatives, such as diverse entertainment lineups and welcoming atmospheres, reflect this generation’s values. Casinos embracing accessibility and equality in their offerings are better positioned to win over this socially aware demographic.

Challenges Facing The Neo-Vegas Movement

Las Vegas faces new challenges as the “Neo-Vegas” movement reshapes traditional casino operations. Gen Z’s priorities, including tech-driven entertainment and diverse experiences, require significant changes in how the industry attracts and retains younger audiences.

Balancing Tradition And Modernity

Casinos must maintain classic attractions while integrating modern options that appeal to Gen Z. Traditional gaming models like slot machines are losing relevance as skill-based games and engaging digital experiences gain popularity. Casinos are introducing esports, VR gaming, and interactive lounges to meet these demands. However, transitioning without alienating older patrons remains complex, as both demographics are vital to financial stability.

Addressing Ethical Concerns

Casinos are under increasing scrutiny to address inclusivity, sustainability, and tech-driven ethical practices that align with Gen Z values. Many younger visitors demand transparent systems for cashless gaming, ensuring secure and fair management of digital transactions. Furthermore, incorporating eco-friendly initiatives and fostering non-exploitative marketing strategies are essential to attracting socially conscious patrons. Meeting these ethical standards is no longer optional in Neo-Vegas.

The Future Of Neo-Vegas

As Las Vegas transitions into Neo-Vegas, it’s undergoing a sweeping evolution driven by the preferences and values of the younger, more diverse visitors. Gen Z’s influence is reshaping every facet of the casino and entertainment scene, steering it toward inclusivity, innovation, and sustainability.

Predictions For The Casino Industry

Casinos in Neo-Vegas are anticipated to integrate technology fully. Cashless gaming floors and digital wallet systems are set to become the norm, simplifying transactions for tech-savvy users. Traditional slot machines might give way to skill-based gaming, appealing to younger players seeking interactive and rewarding experiences. Immersive attractions like virtual reality arenas are expected to expand, offering high-energy alternatives to card tables.

Sustainability initiatives will likely be a major focus, with eco-friendly designs and renewable energy use in new resorts. Blending entertainment with art and culture, such as music venues and curated installations, will continue attracting visitors looking for more than gambling. Nightlife, known for its grandeur, is predicted to evolve into hybrid spaces incorporating gaming, fine dining, and live performances.

How Gen Z’s Values Will Continue To Shape Culture

Inclusivity, a key value for Gen Z, is reshaping Neo-Vegas. Casinos and entertainment venues are creating environments that celebrate diversity, integrating culturally rich experiences and diverse talent onstage. Social awareness is driving the rise of ethical marketing and transparent gaming practices, addressing concerns regarding fairness and accountability.

Sustainability will remain central as green buildings, energy-efficient designs, and eco-conscious programs gain momentum. Resorts reflect the broader cultural shift by hosting events with zero-waste policies and promoting sustainable practices. This generation’s preference for convenience is pushing development in mobile integrations, offering seamless access to bookings, gaming apps, and event tools. By aligning with these trends, Las Vegas cements its position as a forward-thinking destination.

Conclusion

Neo-Vegas represents more than just a shift in casino culture; it’s a bold reimagining of what Las Vegas can be. By embracing Gen Z’s values of inclusivity, sustainability, and technology-driven experiences, the city is transforming into a vibrant, modern destination that goes beyond gambling.

This evolution isn’t without its challenges, but it’s clear the future of Las Vegas lies in its ability to adapt. As the city continues to innovate and cater to the next generation, it secures its place as a global hub for entertainment, culture, and unforgettable experiences.

Sunglasses Trends to Watch: What’s Hot and What’s Not in 2025

Abbie Wilson
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Sunglasses Trends to Watch: What’s Hot and What’s Not in 2025

More than just a functional accessory, sunglasses are a powerful fashion statement capable of elevating any outfit. In 2025, this sentiment is truer than ever, as high-end labels like Prada, Miu Miu, and Dior unveil a lineup of show-stopping eyewear. 2025’s Spring/Summer runway collections were a testament to the creativity of designers pushing the boundaries of eyewear fashion. From oversized visors to reimagined classics, the spotlight is firmly on bold, statement-making styles.

At Prada’s SS25 show, Miuccia Prada and Raf Simons sent models down the runway in oversized sunglasses that almost entirely obscured their faces. Bug-eyed pieces and headgear that doubled as sunnies were also on full display. Similarly, Canadian label Fellow Earthlings debuted shield-like sunnies with post-apocalyptic vibes. Meanwhile, Marni gave classic aviators and cat eyes a modern twist with exaggerated lines and avant-garde detailing. The message is clear: eyewear is bigger, bolder, and more fun than ever before.

Ready to refresh your sunglass collection? Here’s your ultimate guide to what’s hot and what’s not in 2025.

  1. Hot: Oversized frames — Not: Tiny sunglasses

Unless you’ve been living under a rock, you’ll know that tiny sunglasses dominated from 2021 to 2024. They were championed by celebrities like Bella Hadid and Bad Bunny, the latter of whom famously wore minuscule shades to the 2024 Met Gala to align with the Gilded Glamour theme. Characterised by their small size and minimalist design, these shades polarised opinions. While they were undeniably trendy, many felt they didn’t offer enough practicality or face coverage. As fashion gravitates towards function and flair, tiny sunglasses are falling out of favour.

This year, the pendulum swings in the opposite direction with oversized frames taking centre stage. Larger-than-life shades, like the Dolce & Gabbana DG4385 or Tiffany & Co TF4189B, are making a splash. These bold accessories offer both maximum coverage and an undeniable wow factor. To hop on this trend, pair oversized sunglasses with minimalist outfits to let your eyewear do the talking. A sleek monochrome look with a tailored coat or jumpsuit ensures your shades remain the focal point.

  1. Hot: Tinted lenses — Not: Multicoloured frames

Multicoloured frames had their moment in 2024, fuelled by playful designs from brands like Loewe. Their inflated, colourful shades became staples for celebrities like Emily Ratajkowski and Olivia Cooke. Even TV shows like The White Lotus inspired the colourful sunnies trend, with Portia’s youthful, loud eyewear reflecting a carefree aesthetic. However, as tastes evolve, bold frames are being swapped for the subtler charm of tinted lenses.

Tinted lenses bring a retro-modern vibe, combining playfulness with sophistication. High-profile celebrities such as Kendall Jenner have embraced this trend, rocking Bottega Veneta’s yellow-tinted Drop Aviator shades. Tinted sunglasses are versatile, adding warmth to any look while enhancing visual clarity. To mimic Jenner’s look, choose lens colours that complement your skin tone—yellow adds a sunny vibe, while rose tones lend a soft, romantic touch. Wear them with casual outfits, such as denim and a blazer, for a trendy yet relaxed look.

  1. Hot: Staple square sunglasses — Not: Circular sunglasses

Round sunglasses have repeatedly cycled through fashion, famously worn by icons like John Lennon and Ozzy Osbourne. Rimless, round styles even made a brief comeback in 2024 but failed to gain long-term traction. For fashion lovers with a penchant for simpler eyewear styles, we have good news. This year, angular square silhouettes are stepping into the spotlight, delivering a more structured and universally flattering option.

Square sunglasses, like Ray-Ban’s iconic Wayfarers, continue to thrive due to their timeless appeal. If you’re on the hunt for a more affordable alternative, look no further than prescription sunglasses from Glasses Direct. The square Henry or Dax frames, in particular, offer a stylish combination of practicality and affordability. These frames’ sharp lines and versatility ensure they remain a must-have for 2025. You can wear square sunglasses with tailored pieces for a polished look, or pair them with distressed denim for effortless cool. Their clean lines make them ideal for both casual and formal settings.

  1. Hot: Angular cat eye sunglasses — Not: Hexagon frames

Hexagon frames had their heyday in 2023, putting a geometric twist on traditional eyewear. Despite their unique appeal, they struggled to become a lasting trend due to their niche aesthetic. As geometric shapes take a backseat, angular cat eye sunglasses are rising in popularity. Musician Brittany Howard, for one, proved on the cover of her 2024 album What Now, that angular sunnies are the perfect choice for simpler looks. Angular cat eyes channel vintage glamour with a modern edge, featuring sharp corners and exaggerated upsweeps.

Luxury brands like Saint Laurent and Miu Miu have unveiled versions that redefine this classic silhouette. These shades exude confidence and pair well with a variety of outfits. For a chic, retro vibe, wear angular cat eyes with a bold red lip and a tailored trench coat. These shades also pair effortlessly with eveningwear for added drama.

  1. Hot: Futuristic aviators — Not: Heavily embellished frames

Embellished sunglasses, adorned with rhinestones and ornate details, captured attention in 2024. However, their over-the-top designs are now being replaced by sleeker, more streamlined styles. Futuristic aviators, characterised by reflective lenses and metallic finishes, are the new must-have.

As one can expect from the Gen Z-favourite brand, Miu Miu is ahead of the curve. For SS25, the fashion house featured bug-eyed aviators on the runway. These updated aviators take inspiration from science fiction and activewear, combining functionality with cutting-edge design. Aside from Miu Miu, you can look to brands like Oakley for sporty iterations or Prada for high-fashion versions with a utilitarian edge. To incorporate this eyewear style into your wardrobe, match futuristic aviators with athleisure or streetwear for a contemporary look. Think oversized bomber jackets, joggers, and sneakers to nail the vibe.

Sunglasses are evolving rapidly, with trends shifting from quirky minimalism to bold maximalism. In 2025, eyewear is about making a statement, whether through oversized frames, playful tinted lenses, or angular cat eyes. At the same time, timeless silhouettes like square sunglasses remain a staple. When refreshing your eyewear collection, consider your personal style and face shape. Choose pieces that not only align with trends but also complement your wardrobe. With the right pair, your sunglasses can become the ultimate accessory to elevate any look.

The Rise Of Ruderalis: How A Small Cannabis Species Is Transforming Home Growing

Our Culture Mag & Partners
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The Rise Of Ruderalis: How A Small Cannabis Species Is Transforming Home Growing

Cannabis Ruderalis might not have the star power of Indica or Sativa, but this little-known species is making big waves in the world of home growing. From its unique characteristics to its role in creating autoflowering strains, Ruderalis is changing the way growers approach cultivation. Let’s dive into what makes Ruderalis so special and how it’s transforming the game for beginners and seasoned growers alike.

Understanding Cannabis Ruderalis

Cannabis Ruderalis is the smallest, scrappiest sibling in the cannabis family. It’s hardy, resilient, and—best of all—easy to work with. Let’s break down what makes Ruderalis stand out.

Origins and Characteristics of Ruderalis

Cannabis Ruderalis originally hails from the rough and tough climates of Central and Eastern Europe, Asia, and Russia. It evolved to survive harsh weather and shorter growing seasons, which is why it’s such a hardy plant. Ruderalis plants are small—usually no more than 2 feet tall—and they flower based on age rather than light exposure. That’s right: no fiddling with light schedules needed.

Differences Between Ruderalis, Indica, and Sativa

The big difference? Ruderalis flowers automatically, while Indica and Sativa rely on specific light cycles. Ruderalis plants are also smaller and produce less THC, making them less potent on their own. However, they pack a punch when crossbred, thanks to their autoflowering trait.

The Role of Ruderalis in Modern Cannabis Cultivation

Ruderalis has become a key player in cannabis breeding. By crossing Ruderalis with Indica or Sativa, breeders create autoflowering strains that combine the best of all worlds: resilience, potency, and ease of growth. It’s like the secret sauce for modern cannabis cultivation.

The Advent of Autoflowering Strains

Autoflowering strains owe their existence to Ruderalis. Here’s how they’re reshaping home growing.

What Are Autoflowering Cannabis Strains?

Autoflowering strains are cannabis plants that flower automatically after a certain period, regardless of light cycles. This makes them incredibly user-friendly, especially for beginners. They’re quick, discreet, and reliable.

Breeding Ruderalis with Indica and Sativa

Breeders combine Ruderalis with Indica or Sativa to create strains that flower automatically but still deliver on potency, flavor, and yield. It’s like taking the toughness of Ruderalis and adding the sparkle of Indica or Sativa.

Advantages of Autoflowering Strains for Home Growers

Autoflowers are perfect for anyone who doesn’t want to deal with complicated light schedules. They’re fast-growing, compact, and tough as nails. Plus, they’re ideal for small spaces or stealthy grows.

Benefits of Growing Ruderalis-Derived Strains at Home

If you’re looking for an easy, stress-free growing experience, Ruderalis-derived strains are the way to go.

Shorter Growing Cycles

Autoflowers typically go from seed to harvest in 8–12 weeks. That’s way faster than traditional photoperiod strains, making them perfect for impatient growers.

Resilience to Pests and Harsh Conditions

Ruderalis passed down its tough-as-nails DNA, making these strains resistant to pests, diseases, and environmental stress. They can thrive where others struggle.

Suitability for Discreet and Limited Spaces

Because they’re small and compact, autoflowering strains are ideal for growers with limited space or those looking to keep things low-key. Closet growers, rejoice!

Cost of Growing vs Dispensary-Bought Weed

When it comes to costs, growing your own cannabis can save you a significant chunk of change compared to buying from a dispensary. While the upfront investment in equipment, seeds, and supplies might seem steep, these costs are often recouped after just one or two harvests. For example, a single cannabis plant grown at home can yield several ounces of weed, costing you only a fraction of what you’d pay per ounce at a dispensary. Plus, growing gives you control over the quality and strains you want, often at a much lower cost per gram. That said, if you’re just looking for occasional use, dispensary weed might still be more convenient despite the higher price tag. It’s all about balancing your needs, budget, and how much effort you’re willing to put into the growing process.

Why You Can’t Grow Autoflowers from Clones

Autoflowering plants have a unique growth cycle that’s tied to their age, not light exposure. Unlike photoperiod strains, which can be cloned and kept in a vegetative state indefinitely, autoflowers start flowering automatically after a set period. This means that any clones taken from an autoflowering plant will also be on the same internal clock as the mother plant, regardless of size or maturity. For successful grows, it’s always better to start with fresh autoflowering seeds, ensuring a consistent and robust growth cycle from start to finish. This also gives you the full potential of the strain’s yield and potency, without the limitations clones would bring.

Cultivating Autoflowering Strains: Best Practices

Growing autoflowers is simple, but a few tips will help you get the most out of your plants.

Optimal Soil and Nutrient Requirements

Autoflowers thrive in light, well-aerated soil. Use nutrients sparingly—these plants grow fast, so it’s easy to overdo it. Think less is more.

Light Schedules and Environmental Conditions

While they don’t need specific light cycles, autoflowers still benefit from plenty of light—18–20 hours a day is ideal. Keep temperatures between 70–85°F for the best results.

Common Challenges and How to Overcome Them

Overwatering and overfeeding are the biggest pitfalls. These plants don’t have time to recover from mistakes, so go easy and keep things simple.

Popular Autoflowering Strains for Home Cultivation

Looking for the best autoflowering strains? Here are some crowd favorites.

Top Indica-Dominant Autoflowering Strains

Strains like Northern Lights Auto and Blueberry Auto offer relaxing effects with that classic Indica vibe.

Top Sativa-Dominant Autoflowering Strains

Amnesia Haze Auto and Sour Diesel Auto bring uplifting, energetic highs for daytime use.

High-CBD Autoflowering Strains

For medical users, strains like CBD Auto White Widow are perfect for therapeutic benefits without the high.

What makes Cannabis Ruderalis different from Indica and Sativa?

Ruderalis is a smaller, hardier cannabis species that flowers automatically based on age rather than light cycles. Unlike Indica and Sativa, it produces less THC but is highly resilient and perfect for creating autoflowering strains.

How do autoflowering strains benefit home growers?

Autoflowers are beginner-friendly, fast-growing, and don’t require strict light schedules. They’re also compact and resistant to pests, making them ideal for home cultivation.

Can autoflowering strains produce high yields?

Yes, although they’re smaller than photoperiod strains, they can still produce respectable yields when grown under optimal conditions with plenty of light and nutrients.

What are the ideal growing conditions for autoflowering cannabis?

Autoflowers thrive in well-drained soil with light nutrients, plenty of light (18–20 hours daily), and stable temperatures between 70–85°F. Avoid overwatering and overfeeding for the best results.

Are autoflowering strains less potent than photoperiod strains?

Not necessarily. Modern autoflowering strains are bred to deliver high potency comparable to photoperiod strains, especially when crossed with Indica or Sativa genetics.

Ruderalis might not be the flashiest cannabis species, but its contributions to modern cultivation are undeniable. Autoflowering strains have made growing cannabis easier and more accessible than ever. Whether you’re a seasoned grower or just starting out, Ruderalis-derived strains offer a hassle-free, rewarding experience. Give them a try—you won’t be disappointed!

Artist Spotlight: lots of hands

Konstantinos Pappis
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Artist Spotlight: lots of hands

lots of hands is the duo of Billy Woodhouse and Elliot Dryden, who met in a Leeds school music program at age 16. It served as Woodhouse’s solo project until around 2020, when they released their first LP, mistake; the pair then started to work on music remotely, weaving together ambient instrumentation and tender, lo-fi folk through 2021’s there’s someone in this room just like you and 2023’s fantasy. into a pretty room, their new album and debut for Fire Talk, is billed as their first truly collaborative effort, with Dryden commuting through the northern English countryside to write and record in Woodhouse’s bedroom studio. Growth is an undercurrent more than the obvious throughline, as Woodhouse and Dryden spin old demos, new songs, and twinkling, glitched-out electronics into a record of almost ineffably hushed vulnerability and understated, muffled beauty. With Woodhouse producing and properly mixing the record, there’s a different kind of attention paid to the subtleties and cohesiveness of their songwriting, even as each moment it depicts seems to flit by like a whisper, or linger like a ghost – or both.

We caught up with lots of hands for the latest edition of our Artist Spotlight series to talk about the origins of the project, recording into a pretty room, getting lucky, and more.

Billy, lots of hands started out as your solo project. What excited you about making songs in the first place, especially in the context of the DIY SoundCloud community you found yourself in?

Billy Woodhouse: It felt like a lot of experimenting to get to a place where I was comfortable with how it sounded. I think that’s what the DIY community does so well – it borrows ideas from each other and explores sounds that have been done before, but haven’t been done in the context they’re placed in. It was a great little community to be in, especially when I was learning. I look back on that with some good thoughts. I’m in a position now where I feel like I’ve learned what I’ve learned, and it’s about trying to transform that and create new things,

Elliot, were you involved in a musical community in the same way before you started working with Bill?

Elliot Dryden: I mean, I had hardly written any songs until we started working together – maybe about five, and most of them were pretty bad. I’ve never really been part of a creative community like that. This is my first time bouncing ideas off each other.

You met a school music program when you were 16. Do you mind sharing your first impressions of each other?

ED: I didn’t have any friends because Bill joined a few weeks after the course started and was the first person I talked to. I thought they were a bit weird, but I didn’t have any other friends, so I was like, “I guess this guy will do.” [laughs] I found out they were still weird but pretty cool as well. We became really good friends quite fast. 

What was it like from your perspective, Billy?

BW: Pretty much the same. We got paired together,  we had to talk about music distribution in the industry, and we both had no fucking idea what we were talking about. I got really lucky because the rest of the songwriters in that course were pretty naff, to be honest. [laughs] It’s been really fun writing with Elliot.

Did it feel like an escape? 

BW: Yeah, I think it still does, to be honest. It’s like a whole different world from the normal little lives that we lead.

ED: For me, especially in college, I had a pretty bad music taste before Bill made me listen to all the new songs. 

BW: Mine was pretty ass, don’t get me wrong. 

ED: Yours was pretty bad as well, but not in that time, it was alright. But yeah, I had my school friends, but I only really talk to two of them now, and I never really liked any of the other people. It was great to me somebody that was different from the usual kinds of people I hung out with. And that led to me listening to different kinds of music, which was good.

mage tears, who is featured on ‘in b tween’, was part of that SoundCloud community. What did it mean for you to include that collaboration on into a pretty room?

BW: It was great. I wish I had done more songs with her vocals, but her microphone was so ass that it was really hard to mix. [laughs] I was living in Leeds when we recorded it, so Elliot would come down from Newcastle, which is only about an hour on the train. We’d get through a couple of ideas, and sometimes mage tears would just come down from upstairs and ask to help out or if she could do some vocals. Moving in with her in general was good because she was a big inspiration for me, just because she was a bit older and had more experience in music, going into DIY. Which is why making this record felt kind of like a final point for me in that period.

Elliot, did being outside, taking walks or the train, and being in Billy’s studio activate different parts of your mind when thinking about this record?

ED: Maybe, I haven’t really thought about it. I think the train rides definitely, because we would go down to record something new or add to what we already had, and on the train ride home I’d listen to it on repeat to see what else we could do. So the train rides were definitely part of the writing proces, but I think the walks we did were more just about being bored. They might have influenced it in some way, I’m not sure.

BW: It’s probably important to note that Elliot, when writing this, lived in the actual middle of nowhere with his mom. But I definitely went out a couple of times while making the record. 

ED: We like a good walk. I feel like you have different conversations when you’re outside.

Did you talk about music, or other things that filtered into the the songs?

ED: Both. We always talk about music stuff. I think we have our best conversations when we’re on a long walk.

BW: It’s important when you’re writing to be able to grow just a little bit – not too much. As two guys from the north, just grow a little more vulnerable.

Is there one conversation or moment of vulnerability that sticks out to you?

BW: This record, at the end of the day, is a lot of borrowed songs – songs that Elliot had written years ago that we brought back and reimagined. And I think just that sense of looking back was vulnerable enough. I went through a pretty crazy period of grief while writing it, and just living in a different city – I felt like was losing my brain a little bit. [laughs] We’ve probably not spoken about it as much as we’ve put it on the record, if that makes sense.

ED: Some of the songs, as Bill said, were from quite a few years ago, and it’s funny to reflect on the place where we were when we wrote them. We just laugh about it. I was the most unemployed person probably you’ve ever seen, in loads of debt.

The latest single, ‘barnyard’, seems to sketch out this idyllic, remote life, but it’s ultimately suffused with grief. That happens on a few song that might sound pretty and laid-back, like ‘run your mouth’, but the grief is something you can tune into the more time you spend with the record.

BW: That’s what I’d like it to be. 

ET: We were listening to country music and music that kind of sounds happy and usually has happy lyrics. When we were writing the songs, we were like, “Oh, the lyrics aren’t very happy,” but the sounds were usually quite soft. I don’t know if that’s Bill’s production, or just the fact that, for my songs, I wrote them all acoustically.

‘backseat 30’ was the first song you wrote in a truly collaborative way, and the insecurities it lays out feel shared, maybe for that reason.

ED: For that one, I think Bill had the guitar part, and I wrote not even half a verse – something about folding clothes. Bill did the rest for that one, but I think it was something we were both thinking about when writing that album: You’re not 14 anymore. We actually need to get our shit together.

BW: A hundred percent. As for the contrast, I think that’s just what sums up our music as a whole. We’re a bit silly and goofy, but if you get into that shell, it’s important to listen to what we’re saying.

With ‘backseat 30’, I feel like the production turns that anxiety and innocence into ambition. Maybe it’s the drums, but it doesn’t just feel upbeat or goofy; it feels robust. What it was like for you, Bill, to focus on the mixing of a song – not just in terms of it sounding right, but more precise in feeling?

BW: It was really, really fun. That’s the first thing I’ll say. The actual crafting of all the songs was such an enjoyable experience, which isn’t something I’d had a lot of while making music before. I quite like the word “robust” – we were really eager to make it feel like we were moving forward, being a bit more clean and less rough around the edges. It definitely helped that we had Greg Obis from Chicago master it. That’s something I’ve never been able to do myself; it’s just mind-boggling. It was the first time I actually sat down and properly learned how to use the DAW and the plugins, treating it less like a toy and more like a piece of artwork we were trying to make, and sound good.

Did you have to find new ways to be playful with it, or was that something that came naturally?

BW: It definitely came naturally. As I was producing it, there was more fun shit I was finding out. I just went down a huge rabbit hole of production when I was doing the mixing. I feel like I’m in a place where I’m really ready to make some crazy-sounding music.

In the context of ‘beackseat 30’, what does getting lucky look like for you? Is that something you’ve discussed?

BW: When we were writing the last album, Elliot brought up the analogy of throwing pennies into a lake to try to get lucky. We were in a position where it felt like – maybe a bit rock bottom, maybe a bit like, how do I dig myself out of this situation without just hitting gold? The truth is, you gotta graft your way out of it. But I think we brought more of that analogy into this album and kind of elaborated on it. We talked about our personal experiences while still holding true to that idea of where we were.

Did you think about it in relation to music as well?

ED: Kind of. When Bill was living with mage tears, who kind of blew up overnight, we were like, “Damn, it would be nice if that happens to us.” She’s in America now, so maybe one day we might blow up like that.

BW: The lyrics to ‘backseat 30’  hint at this idea of the American dream, this over-the-top rock star life that Elliot and I were poking fun at when were talking about the idea of getting lucky or making it with our music. So it’s a bit of a balance between “We need to sort our shit out” and the idea that we’re going to be rock stars. We’re still in this in-between process, just riding the wave and seeing what goes. Still chucking those pennies, in a way.

A lot of the songs on into a pretty room are repurposed demos. Did you consider the line between a demo and a complete song, or a lots of hands song, in a new way?

BW: A hundred percent. It was so hard to find an endpoint, which is why we set ourselves such a definite, like, “We’re going to finish this by this day and get this many songs done.” You produce one song, and then you go do the next one, you learn something new, and you want to go back and apply it to the old shit. You just get caught in this endless cycle of mixing, throwing stuff out, bringing in new things. We just had these songs in mixing purgatory for so long. It’s definitely difficult to know when a demo is finished. Some songs still sound pretty demo-like to me, but hopefully not in a bad way.

Could you share something that inspires you about each other?

BW: I’ve always been envious of how Elliot can sit and write a structured song. I’ll have a lot of loops going on, and I’ll kind of make the song in Logic, if that makes sense. Whereas Elliot will just sit with a guitar and his vocal cords and rip some actual mad shit. That definitely inspires me. I still haven’t found a way to word this, even though I’ve said it before, but these songs are the first ones we’ve made that I consider, like, “song songs.” I’ll leave that to interpretation.

ED: For Bill, mine’s the opposite. Bill is very creative and knows how to make weird stuff sound good. That’s the good thing: we’got weird sound, but also–

BW: Level ground. 

‘game of zeroes’ is definitely a “song song.” 

BW: I was talking to my grandma after ‘game of zeroes’ came out, and she went, “This kind of stuff will make it big. Elliot knows how to write a song. Your stuff will get a cult following one day, but Elliot’s will make it big.” For a second, I was like, “Fuck you.” But also, yeah. You gotta write a “song song.”

This interview has been edited and condensed for clarity and length.

lots of hands’ into a pretty room is out January 17 via Fire Talk.

Legendary Film Director David Lynch Dies Aged 78

Modestas Mankus
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Legendary Film Director David Lynch Dies Aged 78

David Lynch, one of the most celebrated film directors, has passed away at the age of 78. Known for his unique ability to blend the odd with the appealing, Lynch left an indelible mark on the film industry, inspiring generations of artists.

Lynch was born on January 20, 1946, in Missoula, Montana. He studied painting at the Pennsylvania Academy of Fine Arts, where he gained a passion for blending visual art with storytelling. His earliest works, such as the experimental short film The Alphabet (1968), showcased his fascination with unsettling and thought-provoking visuals.

He gained critical acclaim with his debut feature, Eraserhead (1977), a nightmarish exploration of alienation and fatherhood.

Among his other big successes Lynch directed Twin Peaks, a two-time Primetime Emmy winning show, and Mulholland Drive which received him an Oscar nomination back in 2002.

Pink Must (more eaze and Lynn Avery) Announce Debut Album, Share New Songs

Konstantinos Pappis
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Pink Must (more eaze and Lynn Avery) Announce Debut Album, Share New Songs

Brooklyn musicians more eaze (Mari Maurice) and Lynn Avery (formerly known as Iceblink) have formed a new project together called Pink Must. Their self-titled debut album arrives on February 28 via Danish label 15 love (ML Buch, CTM, Raisa K), and today we get to hear two songs from it: ‘Morphe Sun’, a hypnagogic piece of pop, and ‘Himbo’, which is more of a blissed-out ambient soundscape. Take a listen below.

“The song is almost a remix of itself,” Avery said of ‘Morphe Sun’ in a statement. “Mari sent me a song and I cut it to pieces and sent it back. She then wrote a second verse and it turned into a pop song.” Maurice added: “This song is a fictional one and tells the story of someone so vain and image-obsessed that they can’t even enjoy a sunset unless it matches their eyeshadow palette. It’s sung from the perspective of a lover or friend trying to find the best in them and the situation.”

Pink Must Cover Artwork:

Pink Must Tracklist:

1. Morphe Sun
2. Disappointed
3. Away
4. Himbo
5. Corporate Ladder
6. Cost of Living
7. Long in the Arms
8. Karaoke of the Bends
9. Blessings

Vundabar Announce New Album ‘Surgery and Pleasure’, Share New Single ‘Spades’

Konstantinos Pappis
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Vundabar Announce New Album ‘Surgery and Pleasure’, Share New Single ‘Spades’

Vundabar have announced a new album, Surgery and Pleasure, which comes out March 7 via Loma Vista Recordings. Leading the LP is the blazing new single ‘Spades’, which follows the previously released ‘I Got Cracked’ and ‘Life Is a Movie’. Check out its music video below, and scroll down for the album cover and tracklist.

“Surgery and Pleasure is a more mature synthesis of all the stuff we’ve explored before,” singer/guitarist Brandon Hagen said in a press release. “In a way it feels like a return. It’s grownup Vundabar.”

“I was dealing with how to accept that change is inevitable,” Hagen added. “These things can’t be fought. It’s about acceptance and empathy.”

Surgery and Pleasure Cover Artwork:

Surgery and Pleasure Tracklist:

1. Life Is A Movie
2. Beta Fish
3. Stallion Running
4. I Got Cracked
5. Spades
6. Let Me Bleed
7. Feels Like Forever
8. Hurricane
9. I Need You
10. Easy Does It
11. Why Is It So Hard To Say Goodbye

Watch Lucy Dacus Perform ‘Ankles’ on ‘Fallon’

Konstantinos Pappis
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Watch Lucy Dacus Perform ‘Ankles’ on ‘Fallon’

Yesterday, Lucy Dacus announced her new album Forever Is a Feeling, sharing the singles ‘Ankles’ and ‘Limerence’. Last night, she stopped by The Tonight Show Starring Jimmy Fallon to perform ‘Ankles’, accompanied by a string section and wearing the voluminous red gown from the song’s video. Watch it happen below.

Forever Is a Feeling is set for release on March 28 via Geffen.

18 New Songs to Listen to Today: Lucy Dacus, Perfume Genius, and More

Konstantinos Pappis
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18 New Songs to Listen to Today: Lucy Dacus, Perfume Genius, 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 Wednesday, January 15, 2025.

Lucy Dacus – ‘Ankles’ & ‘Limerence’

Lucy Dacus is back with two new songs, ‘Ankles’ and ‘Limerence’, which lead her forthcoming album and major-label debut, Forever Is a Feeling. The driving, string-laden ‘Ankles’ is the one that gets a music video (filmed in Paris and featuring Havana Rose Liu), while ‘Limerence’ is a heartfelt ballad as striking as Dacus’ best. “I’m thinking about breaking your heart someday soon,” she sings. “And if I do, I’ll be breaking mine too.”

Perfume Genius – ‘It’s a Mirror’

Perfume Genius has announced his fifth LP, Glory, sharing the single ‘It’s a Mirror’. “What do I get out of being established?” Mike Hadreas sings, “I still run and hide when a man’s at the door.” In a statement, he explained: “I wake up overwhelmed even when nothing is going on. I spend the rest of the day trying to regulate, which I prefer to do at home alone with my thoughts. But why? They are mostly bad. They also haven’t really changed for decades. I wrote ‘It’s A Mirror’ while stuck in one of these isolating loops, seeing that something different and maybe even beautiful is out there but not quite knowing how to venture out. I have a lot more practice keeping the door closed.”

My Morning Jacket – ‘Time Waited’

We’ve waited quite a while for the next My Morning Jacket LP, but now we know the follow-up to the band’s 2021 self-titled LP, titled is, releases in March. Lead single ‘Time Waited’ is equal parts jaunty and dreamy. “I made a loop of that piano intro and listened as I went for a walk, and all these melodies started coming to me,” Jim James explained. “For a long time, I didn’t have lyrics, but then I had a dream where I was in a café and a song was playing, and the lyrics to that song became the lyrics to ‘Time Waited’ — the melodies just fit perfectly. And the lyrics are about how flexible time is, how we can bend and warp time, especially if we are following our hearts, the universe and time itself can flow to work with us.”

Porridge Radio – ‘Don’t Want to Dance’

Today, we got the sad news that Porridge Radio, the Bright outfit led by Dana Margolin, is breaking up. They’ve got one more project on the way, though: Machine Starts to Sing, a four-track EP of songs recorded during the sessions for last year’s Clouds in the Sky They Will Always Be There for Me (which we interviewed Margolin about.) Leading the announcement is the raw and bittersweet ‘Dont Want to Dance’, which includes lyrics like, “It’s too late to try, but I’m not done trying.”

Girl Talk feat. T-Pain and Yaeji, ‘Believe in Ya’

T-Pain and Yaeji have joined producer Girl Talk on a bouncy, exuberant new song called ‘Believe in Ya’, which samples Change’s 1981 single ‘Hold Tight’. “T-Pain is a living legend and an absolute master of his craft,” Girl Talk said in a statement. “It was an honor to make music with him again. I was excited about getting T-Pain on some sample-based production. He has such a distinctive vocal style, and I wanted to put it into a complimentary but unique musical environment. I wanted to give him a different sound, something that takes elements from the past but transforms it into a modern style…” Yaeji added, “It was a joy to create music that’s positive and uplifting, especially alongside T-Pain and Girl Talk.”

Yukimi – ‘Sad Makeup’ and ‘Winter Is Not Dead’

Yukimi, the vocalist and co-founder of Swedish group Little Dragon, has announced her debut solo LP. For You arrives March 28 via Ninja Tune, and two new songs, ‘Sad Makeup’ and ‘Winter Is Not Dead’, are out now. “I wrote a song called ‘Sad Makeup’ about those days when you try to push down and control a sad feeling,” Yukimi explained. “The more I try to control it, the more it’s felt by others around me, growing bigger as an energy.” Of the icier ‘Winter Is Not Dead’, she added: “Living in Scandinavia, we must face our long, dark winters. The lack of light brings many of us down. At the same time, underground, life thrives. Microbes stay busy breaking down organic matter, recycling nutrients and improving the soil, quietly preparing for spring. I also grow during my personal winter seasons, even though things might feel dead on the surface. Wheels turn as I transform and move through it getting ready for spring and summer.”

Sharon Van Etten & The Attachment Theory – ‘Trouble’

Sharon Van Etten & The Attachment Theory have dropped ‘Trouble’, the final pre-release single from their forthcoming self-titled debut album. It boasts an incredibly melodic bass line by Devra Hoff, while Teeny Lieberson’s atmospheric synths really fill out the space of the song. “’Trouble’ is about the idea of having to coexist with people you love who have opposing views, and not being able to share deep parts of yourself and your narrative based on someone else’s beliefs,” Van Etten explained. “It’s about when there’s that big part of you that someone who loves you can’t know because it’s not something they want to hear or are willing to learn about or understand, and those painful realizations when you choose to love and respect someone else’s needs over your own to salvage a relationship.”

Anxious – ‘Some Girls’

Connecticut punks Anxious are releasing their new album, Bambi, on February 21, and its latest single is the sweepingly dynamic ‘Some Girls’.

Baths – ‘Eden’

Baths has offered another preview of his first album in seven years. ‘Eden’ is bubbly and euphoric, and Will Wiesenfeld had this to say about it: “A lot of Gut goes into more negative territory on sex, and the psyche, but to keep it honest I also needed a song that reflected the rapturousness of that experience. Sometimes, amidst all my misgivings and self-flagellation, sex can be perfect. ‘Eden’ revels in the joy of my own insatiable sexual appetite and constant search for gratification. It is a reversal, finding god in the body, here on earth. In it, I demand that heaven come down to me, meet me on my terms, and ‘drink’ of me—not unlike a catholic congregation is instructed to drink the blood of Christ in the eucharist. ‘Slip into my ellipsis’ is a demand for the powers that be to share in my erotic fervor, in the feeling that is the closest I get in my adult life to a religious experience. Subsequently, the way that feeling affects me in a broader sense is when the rest of Gut comes into focus.”

Moreish Idols – ‘Dream Pixel’

Moreish Idols have detailed their debut album, All in the Game, out March 7 on Speedy Wunderground. The psych-inflected, knotty ‘Dream Pixel’ leads the announcement. According to the band, it’s “about what we all see in our dreams; the colors, sounds and occurrences that are often too surreal to put into words and leave you questioning how the subconscious can paint such a vivid, psychedelic picture. Inspired by the experience of swimming in phosphorescence in Cornwall, ‘Dream Pixel’ celebrates the moments in life that could easily be mistaken for a dream, glitch or trip.”

Carriers – ‘Blurry Eyes’

Carriers, the musical project of Cincinnati’s Curt Kiser, has a new album on the way: Every Time I Feel Afraid, arrives on May 2 via Brassland. The ethereal new single ‘Blurry Eyes’ features contributions from The National’s Bryan Devendor, The War on Drugs’ Dave Hartley, Ben Lanz, and Peter Katis. “I wrote ‘Blurry Eyes’ right before the first live stream show I did on Instagram during the pandemic,” Kiser explained. “What a wild thing that kept us all together while the world was shut down. It was a hard but also an incredibly special time to refocus on what really matters in life.” He added, “Right now is a weird time to be putting out music and promoting myself, but I’m grateful to share art during such a heavy time. I hope the songs find people when they need it most, and that they can provide some kind of solace — whether an escape from the situation, some magic in the atmosphere, or maybe a lyric to help them process what’s going on.”

SUSS – ‘This Land Is Your Land’ (Woody Guthrie Cover)

We featured ambient country trio SUSS on yesterday‘s track roundup for their Immersion collab ‘State of Motion’. Today, they’ve taken on Woody Guthrie’s ‘This Land Is Your Land’, and it’s mesmerizing. “Music more than almost anything else can evoke the emotions of a time and place,” Jonathan Gregg said in a statement. “As we find ourselves again in a time of challenge and uncertainty, we reach for solace in the same places as those who came before. Whether it’s a hymn, a battle cry, or a simple folk song, music is at the ready to bring us together and remind us that we have been here before, we are still here, and always will be as long as we remember.”

Mess Esque – ‘Take Me to Your Infinite Garden’

Mess Esque, the Australian duo of Helen Franzmann (aka McKisko) and the Dirty Three’s Mick Turner, have announced their latest record, Jay Marie, Comfort Me. The lead single ‘Take Me to Your Infinite Garden’ is a stomping, ominous rocker, and it comes with a video by Charlie Hillhouse.

WILDES and St Francis Hotel – ‘In the Floodlight’

WILDES and St Francis Hotel have a new collaborative EP, Kopfkino, coming out on February 19. “This song chronicles adolescence into adulthood, and the many versions of ourselves that live and die on the way to uncovering our true nature,” WILDES said of the foreboding ‘In the Floodlight’. “Each verse represents a different period in my twenties, as I grew and fought against who I wanted to be, and who I was told I should be. Despite all of the experiences that change our outlook and values in life, there always remains a little seed of who we were in our youth, before life’s complexities appear, and for me that is deeply reassuring.”

fish narc – ‘boxy volvo’

fish narc – the alias of Olympia, WA-based songwriter, producer, and multi-instrumentalist Ben Funkhouser – has dropped ‘boxy volvo’, a hooky new track from his recently announced album, frog song. “After five weeks on tour in the Fall 2023, I had built up a lot of ideas that I didn’t really know how to set into motion,” Funkhouser explained. “Doing music for a living changes your ears, and the streaming format changes the way you categorize and relate to the music you listen to. I wanted to refresh my listening habits and rebuild my library of songs, as well as my guitar and singing chops. I wrote ‘boxy volvo’ that month, while my girlfriend Emma was out of town in New York. I met her in NYC, where she lived at 538 Johnson and drove this old boxy Volvo station wagon with thirty air fresheners on the rearview mirror. I made up the lyrics about the dice, cuz it was too hard to sing ‘thirty air fresheners.'”

LAKE – ‘Wonderful Sunlight’

Bucolic Gone, LAKE’s 10th studio album and first LP for Don Giovanni, has been set for release on March 7. ‘Wonderful Sunlight’ is a lush, soothing introduction: “Sunlight changes all who listen/ With a song of light on the face of children,” goes the second verse, “Will you serve with them today/ Be a believer in the golden rodeo.” So go on and listen.

My Morning Jacket Announce New Album ‘is’, Release New Single

Konstantinos Pappis
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My Morning Jacket Announce New Album ‘is’, Release New Single

My Morning Jacket have announced a new album: is, the follow-up to 2021’s My Morning Jacket, arrives March 21 via ATO. It’s led by the single ‘Time Waited’, which is accompanied by a Danny Clinch-directed video. Check it out below.

The new album marks the first MMJ LP that wasn’t produced or co-produced by frontman Jim James. The band worked on the 10-track effort with Brendan O’Brien, known for his work with Bruce Springsteen and Pearl Jam. “Up until now I’ve never been able to let go and allow someone else to steer the ship,” James explained in a statement. “It almost felt like an out-of-body experience to step back and give control over to someone who’s far more accomplished and made so many more records than us, but in the end I was able to enjoy the process maybe more than I ever have before.”

Commenting on ‘Time Waited’, James said: “I made a loop of that piano intro and listened as I went for a walk, and all these melodies started coming to me,” For a long time, I didn’t have lyrics, but then I had a dream where I was in a café and a song was playing, and the lyrics to that song became the lyrics to ‘Time Waited’ — the melodies just fit perfectly. And the lyrics are about how flexible time is, how we can bend and warp time, especially if we are following our hearts, the universe and time itself can flow to work with us.”

is Cover Artwork:

is Tracklist:

1. Out in the Open
2. Half a Lifetime
3. Everyday Magic
4. I Can Hear Your Love
5. Time Waited
6. Beginning From the Ending
7. Lemme Know
8. Squid Ink
9. Die for It
10. River Road

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