Sharon Van Etten has shared a cover of David Bowie’s ‘Starman’, which will serve as the end-credits song for Return to Space, a new Netflix documentary about Elon Musk and SpaceX. Listen to Van Etten’s 70-second rendition of the track below.
Earlier this week, Van Etten announced her new album We’ve Been Going About This All Wrong, which arrives on May 6. She recently shared the singles ‘Porta’ and ‘Used To It’, but they won’t appear on the album; in fact, there will be no advance tracks leading up to the release.
When art is spoken about a lot of different forms instantly pop into your mind. You may think of Artists such as Norman Gilbert, you may think about photography, sculptures, abstract art or contemporary. Art comes in so many forms.
However, there is a question and a popular debate topic, whether all forms of dance fall within the genre of art. Whether dancers such as the Shen Yun dancers to hip hop dancers are creating art.
Here you will read compelling reasons why this form of self-expression is a form of art, in its own right.
It Is Closely Aligned With Music
Music is a craft of its own and a well known and respected form of art and creative outlet.
Although dance is not necessarily required to be paired with music they do go hand in hand.
Dance takes all types of music and provides a physical outlet where the fluidity of the body can be applied to music to add a visual element and complement the music. Short dance video clips, in particular, have become increasingly popular as a means of capturing and sharing moments of artistic expression. Learning about different musics and forms of dance opens the mind to different and new creativity, offering exposure to different cultures and expression styles. These clips not only showcase the artist’s personal style but also provide glimpses into their lifestyle, culture, and experiences, enriching the tapestry of artistic expression.
It Is A Form Of Self Expression
Art is closely associated with emotion and mood. It provides a physical representation and visual aid to evoke a feeling, promote talking points and triggers thought and consideration along with enjoyment and beauty.
Whether you are a dancer or you are watching a performance, dance evokes the same reactions.
Through the movements of the body, a dance is able to showcase emotions and entice the viewing into sharing the emotional journey the dancer is telling.
Through facial expressions, gestures, the steps taken, the music associated and the way it engages with the viewer, dance meets the requirements to place it in the category of being a form of art.
Like all types of art, you don’t necessarily need to understand it to appreciate its beauty and find enjoyment from it. If anything it is this subjectivity that makes art popular for people of all ages and of all life experiences.
Tells A Story
Dance is about portraying a message through storytelling.
Storytelling is a well known and respected form of art. Dance takes the story and literally brings it to life in a visual manner.
Through moving their body, the dancer is able to take the viewer on a story. Body language, facial expression and rhythmic motions all sync together to captivate the watcher and draw them into the tale as it is unfolding.
All types of dance forms can be applied to storytelling. One of the most obvious being ballet. Through the combination of gesturing, body movements, solo performances or group dances a story unfolds in front of your eyes.
Open To Interpretation
Like all forms of art, there is an element of interpretation required. Some art forms are ambiguous and others are relatively easy to understand. Dance is no different.
How you are able to interpret what the body movements mean can vary. One person has different emotions evoked than another.
Even if the message is clear, the interpretation of the dance can still differ.
Literature and poetry are both prime examples of where the message can be clear but interpretations can differ. Shakespeare plays are well known for their artistry. The play doesn’t change. The words on the page remain the same. However, the interpretation when performed can evoke different emotions, and can open up different talking points. From how the words are said, the costumes used, the creativity of the set, how relationships are portrayed all influence how interpretations can vary.
Dance is no different. With a variety of different ways to position, angle, gesture and express yourself, dance can be interpreted in many different ways.
Being one of the purest ways of self-expression, dance is an art form that doesn’t require anything more than a person’s body.
Yes, there is technical knowhow associated with certain dance forms, however with so many different forms of dance it doesn’t always require certain training.
Through passion, desire and expression to be shared, dance is one of the only forms of art that has popularity across all parts of the world. Language or technical training doesn’t matter. By moving the body, a story can be told that can be appreciated by anyone.
Father John Misty is back with a new album, Chloë and the Next 20th Century, out now via Sub Pop worldwide and Bella Union in Europe. The singer-songwriter’s fifth studio album and the follow-up to 2018’s God’s Favorite Customer features arrangements from Drew Erickson and production from Josh Tillman’s longtime collaborator Jonathan Wilson, with Dave Cerminara returning as engineer and mixer. It was preceded by the singles ‘Funny Girl’, ‘Q4’, ‘Goodbye Mr. Blue’, and ‘The Next 20th Century’. Read our review of the album.
Wet Leg’s self-titled debut album is out now via Domino. The LP was mainly recorded and produced by Speedy Wunderground’s Dan Carey in London in April 2021, before Rhian Teasdale and Hester Chamber had released their debut single or ever played a show. After emerging with ‘Chaise Lounge’, the Isle of Wight duo previewed the record with the tracks ‘Wet Dream’, ‘Too Late Now’, ‘Angelica’, ‘Oh No’, and ‘Ur Mum’. “Wet Leg was originally just supposed to be funny,” Teasdale explained in press materials. “As a woman, there’s so much put on you, in that your only value is how pretty or cool you look. But we want to be goofy and a little bit rude. We want to write songs that people can dance to. And we want to people to have a good time, even if that might not possible all of the time.” Read our review of the album.
Jack White has put out his new LP, Fear of the Dawn, the first of two new albums he’s releasing this year via Third Man. Arriving four years after Boarding House Reach, the record includes the previously unveiled singles ‘Taking Me Back’ (which made its debut in October as part of the promotional campaign for Call of Duty: Vanguard), ‘Fear of the Dawn’, and the Q-Tip collaboration ‘Hi-De-Ho’. Entering Heaven Alive will follow on July 22.
Melbourne power-pop group Romero have dropped their debut album, Turn It On!, via Cool Death/Feel It Records. The album features the promotional singles ‘Halfway Out the Door’, ‘Honey’, ‘Troublemaker’, ‘Neapolitan’, and the title track. “I guess at the time of writing Turn It On! I was spending a lot of time reminiscing on some of life’s adversity,” singer Alanna Oliver said in a statement. “But instead of writing from a place of loss or pain or suffering, more often than not I was writing from a place of power. It was hard not to write from that place when all of a sudden you were singing about all this stuff with four guys who you hardly knew, in a rock’n’roll dungeon in Kew. It was liberating, electrifying and I knew in my heart I was finally where I was supposed to be.” Read our Artist Spotlight interview with Romero.
Vince Staples has followed up his 2021 self-titled album with Ramona Park Broke My Heart, out now via Blacksmith Recordings/Motown Records UK. The Long Beach rapper has said there is “a direct correlation” between the two records, explaining: “They were kind of created at the same time. I was in a similar state of mind. I’m still working through things and the questions that life poses. This album will make even more sense if you heard the previous one.” The 16-track LP features Mustard, Lil Baby, and Ty Dolla $ign and includes the early singles ‘Magic’ and ‘Rose Street’. “It’s symbolic of home,” Staples added of album’s title. “And everyone has a home. Even though it’s very personal to me, everyone can relate to it. That’s why I thought it would work for this chapter.”
billy woods and Preservation have teamed up for Aethiopes, out today via Backwoodz Studioz. The album features contributions from El-P, ELUCID, Boldy James, Quelle Chris, Despot, Denmark Vassey, Breezly Brewin, Shinehead, and Fatboi Sharif. It follows woods’ 2019 solo LPs Hiding Places and Terror Management, the 2020 Moor Mother collaboration Brass, and 2021’s Haram with ELUCID as Armand Hammer. Preservation collaborated with woods on several tracks off Terror Management; his last album was 2020’s Eastern Medicine, Western Illness, which featured woods on ‘Lemon Rinds’ and the B-side ‘Snow Globe’. Read our review of Aethiopes.
Nothing’s Ever Fine is the sophomore album by Oceanator, the project of Brooklyn artist Elise Okusami. Out now via Big Scary Monsters/Polyvinyl, the follow-up to 2020’s Things I Never Said was co-produced by Bartees Strange and Mike Okusami. Ahead of the release of the LP, Oceanator shared the singles ‘Stuck’, ‘Bad Brain Daze’, and ‘The Last Summer’. Longtime collaborator Andrew Whitehurst performed drums on most tracks, while Jeff Rosenstock provides saxophone on ‘Bad Brain Daze’, which also features gang vocals from members of Long Neck, the Sonder Bombs, Bad Moves, Maneka, Late Bloomer, Alright, and more.
Syd has returned with a new solo album, Broken Hearts Club, out now via Columbia. The follow-up to 2017’s Fin features contributions from Kehlani and Smilo as well as additional production from Troy Taylor, G Koop, and Darkchild. “The album is about a relationship I had that ended in my first real broken heart,” the Internet co-founder explained in press materials. “It almost felt like I joined a club because all of my friends went through similar experiences. It was like a rite of passage. I started writing the album on the relationship when I was in love. You’re really getting the whole journey from the beginning to the end. I want people to find it beautiful. It’s super vulnerable, sentimental, and it’s soft. There’s touching moments and a couple of dark moments.”
Grizzly Bear’s Daniel Rossen has released his debut solo album, You Belong There, via Warp. The 10-track LP explores “the uncharted territory of adulthood,” according to a press release, as Rossen considered “what comes after the restless enthusiasm and public fanfare of your youth.” Following Rossen’s 2012 EP Silent Hour/Golden Mile, the album is intended as “a reintroduction to a voice that sounds both entirely familiar and fully re-energised by the act of unfettered expression and newfound self-sovereignty.” It includes the previously shared tracks ‘Unpeopled Space’ and ‘Shadow in the Frame’.
Brooklyn-based Filipino/Argentinian artist Renata Zeiguer has released her sophomore LP, Picnic in the Dark, via Northern Spy. The follow-up to 2018’s Old Ghost was made in collaboration with Sam Griffin Owens (aka Sam Evian) and was previewed with the singles s ‘Sunset Boulevard’, ‘Evergreen’, and the title track. The album draws inspiration from the sounds of Zeiguer’s childhood, from jazz standards to classical music, as well as bossa nova icons such as João Gilberto, following the musician “through a dreamworld of magical realism as she navigates her memories and seeks to confront inherited dysfunctional patterns,” as a press release puts it.
Woodpecker is the debut full-length from Dena Miller, who records under the moniker Deer Scour. Out today via Carpark Records, the album was recorded and mixed primarily by Heather Jones at So Big Auditory in Philly and features contributions from Ko Takasugi-Czernowin on bass, Zuzia Weyman on cello, Madel Rafter on drums, and guitar from Miller’s father Mark. The album was written over a period of six years, with many of the songs emerging from periods of grief or change. “I used to sing myself to sleep as a baby and I think music still plays the same role in my life – it’s a way of self-soothing or seeking comfort,” Miller explained. “But there’s also part of it that comes from wanting to connect with people.” The tracks ‘Cowboy’, ‘Peace with the Damage’, and ‘Synesthesia’ preceded the record.
Deanna Petcoff’s debut LP, To Hell With You, I Love You, has arrived via Royal Mountain Records. Recorded in Toronto over the course of a year, the album documents the dissolution of a relationship; Petcoff wanted to explore “the whirlwind of emotions you have when you’re grieving a relationship, which can feel like the death of a part of you or what you thought your life was going to look like.” The record features the previously released singles ‘Trash Bag’, ‘If You Were Me’, ‘Devastatingly Mediocre’, and ‘I Don’t Wanna Get Over You’.
The Linda Lindas have dropped their debut album, Growing Up. Having already opened for Bikini Kill, Best Coast, and Bleached, the Los Angeles band – whose members range in age from 11 to 17 – went viral last spring with a filmed performance of ‘Racist Sexist Boy’ at the Los Angeles Public Library, signing with Epitaph shortly after the release of the song. The quartet was also featured in Amy Poehler’s film Moxie. In addition to ‘Racist Sexist Boy’, Growing Up includes the previously shared tracks ‘Talking to Myself’, ‘Oh!’, and the title track.
Kae Tempest has released their fourth album, The Line Is a Curve, via Fiction Records. Following 2019’s The Book of Traps and Lessons, the record was produced by longtime collaborator Dan Carey and features contributions from Kevin Abstract, Fontaines D.C.’s Grian Chatten, Lianne La Havas, ássia, and Confucius MC. Tempest previewed the album with the singles ‘No Prizes’, ‘More Pressure’, ‘Salt Coast’, and ‘I Saw Light’. “The Line Is A Curve is about letting go,” Tempest explained in press materials. “Of shame, anxiety, isolation and falling instead into surrender. Embracing the cyclical nature of time, growth, love.”
The Parts I Dread is the debut full-length by Iowa-via-New Jersey bassist and songwriter Victoria Park, who records as Pictoria Vark. Out now via Get Better Records, the album was co-produced with Gavin Caine and features contributions from Jason Ross, Michael Eliran, and Lauren Black.The Parts I Dread reflects on Park’s sense of home, following the discovery that her parents were relocating from her childhood home in New Jersey to Wyoming. “Eventually this album became less about this surface-level issue of ‘not wanting to move to Wyoming’ or not wanting to leave behind my band in New York, and more about why I felt so unready to go — which really came from a feeling like I didn’t have a sense of control in my life,” Park said in press materials. “It boiled down to not wanting things in my life to change — and eventually approaching a form of acceptance.”
Aethiopes, the latest project from the prolific New York rapper billy woods, is a frayed tapestry of cultural narratives. woods is a master storyteller at his apex, and he fills the album with vivid characters and haunted spaces. Born from a collaboration with producer Preservation, Aethiopes unearths a legacy of bygone samples, reckoning with colonial histories, personal histories, and the indivisibility of the two (not unlike Preservation’s own Eastern Medicine, Western Illness). It’s an ambitious work from woods: an artist who never repeats himself, always moving into new creative terrain.
woods’ lyricism is dense, packed with an arsenal of allusions from Camus novels to Earl Sweatshirt lines. His meter is unpredictable, and his focus is fluid. Throughout the album, woods shuffles between spaces and perspectives, making drastic temporal leaps. He moves across continents and shifts from the eyes of children to adults. Aethiopes builds around fragmented narratives: cryptic vignettes of histories, both personal and collective. On ‘Christine’, a track named after the eponymous automobile from Stephen King/John Carpenter, woods weaves together a tale of a dead man’s car – a “coffin running around” – and its surrounding community. Aethiopes’ vignettes paint portraits of people and the unstable spaces they inhabit: microcosms of larger narratives.
On Aethiopes, woods dials down his typical sardonicism, fusing cynicism with moments of sincerity. The album features some of his most emotive vocal performances. This isn’t to imply the album isn’t funny – it is (“shipwrecked Europeans swimming with the virus shot out like God’s semen,” he raps on ‘Wharves’.). Yet beneath woods’ trademark bleakness rests a forlorn earnestness, most visible in Aethiopes’ introspective moments. The gut-wrenching ‘No Hard Feelings” opens with a barrage of associative imagery. Then, halfway through, it moves into a forlorn narrative about a man who’s stood-up for a hotel rendez-vous. Alone, he smokes and channel surfs. woods’ attention turns to the cycle of scenes that flicker across the TV screen. The specifics of the album’s characters and their histories remains ambiguous, but the melancholia is undeniable.
Like some of woods’ other recent projects, Hiding Places (produced by Kenny Segal) and Haram (produced by The Alchemist), Aethiopes is a single-producer collaboration. The result is a both thematically and texturally cohesive project, strung together with seamless transitions. It’s a work of undeniable ambition, melting genre boundaries and thriving in the in-between spaces. ‘Harlaam’ (which woods co-produced) begins with a looped big band sample, bolstered by wailing brass. Then, halfway through, the song re-forms as a frenzy of disharmonious piano chaos, notes tripping over themselves. It’s arrhythmic, but this doesn’t stop woods and his feature Fatboi Sharif from rapping over it. Preservation’s sampling is unorthodox, plucking sounds seemingly outside the purview of modern hip-hop. His samples are artifacts: old sounds (e.g., jazz, dialogue snippets, baseball play-by-play) crackling with vinyl static. Preservation’s an archeologist, excavating lost sounds and breathing new life into their bodies. Yet his production goes beyond mere re-purposing. Integrating archaic sounds within hip-hop conventions positions the record outside of time. It’s a haunted project, deeply rooted in the past, yet beyond mere nostalgia.
Still, none of these subversions or out-of-the-box samples impede Preservation’s ability to make hard-hitting beats. In fact, it’s the opposite. Preservation finds new potentials in his samples. ‘Heavy Water’ loops a short piano sample, sparking a frantic energy through the constrained repetitiveness of the loop. Recurring flute samples imbue a delicate emotionality into the often bassy and noisey mixes. The harmonica bursts on ‘NYNEX’ expand the blistering drum loops into a blusier terrain, soaking the high-energy rhythm with a thick atmosphere. Most impressive is Preservation’s ability to craft immersive tracks with little-to-no percussion; ‘No Hard Feelings’ and ‘Remorseless’, two of the most emotional songs here, find woods spitting over drumless compositions. In these moments, Preservation offers a triumph of restraint.
There’s a steady progression of features across the album: some big names, some small, yet all solid verses. Nonetheless, Preservation’s beats sound most natural accompanied by woods’ voice, with his staccato flow and enigmatic lyricism. Aethiopes feels delicately crafted: words and sounds intricately laboured over, yet never to the point of rigidness. It’s a fluid work, floating between temporalities and between people. Over these last few years, woods has continuously proven himself as one of the most talented and original working rappers. Aethiopes – his boldest and most lyrical tango with history – just may be his masterpiece.
Latto appeared on The Tonight Show Starring Jimmy Fallon last night to perform a medley of ‘Sunshine’ and ‘Big Energy’, two tracks off her latest album 777. The Atlanta rapper was joined by a full band as well as background singers and dancers for her set. Watch it below.
777, which arrived in March, features guest appearances from 21 Savage, Lil Wayne, Kodak Black, Childish Gambino, and more. It’s the follow-up to Latto’s 2020 debut album, Queen of da Souf.
Maggie Rogers has released her new song ‘That’s Where I Am’. It’s the lead single from the singer-songwriter’s upcoming album Surrender, which is set to arrive on July 29 via Capitol. The track comes paired with video directed by Rogers, Michael Scanlon and Warren Fu and featuring cameos by David Byrne, Quil Lemons, and The Walkmen’s Hamilton Leithauser. Check it out below.
Maggie Rogers said in a statement about the song:
That’s Where I Am’ is a story I’d been carrying around for many years, the story of a love that had been with me and unfolding for a long time. A lot of the events that Surrender chronicles take place in New York City. In the stark solitude and distance of Covid, it was the backdrop for all my claustrophobic fantasies. The proximity and pleasure of just staring at strangers. The way a night could unfold. Events that interrupt your day instead of having to consciously and deliberately make each decision. I longed for someone to sweat on me. Spill their beer on my shoes. Be too tall for me to see at the concert. The city’s music and attitude was a big source of inspiration for the record. For all these reasons, there was only ever one place we could shoot the video. I’ve always said that New York is the city that winks back. It’s a main character. It’s a friend, a lover, an enemy sometimes. In many ways, the music video is about that New York love story. And on those filming days, it felt like the city was on our side. We got our first taste of true New York spring. That feral downtown explosion when suddenly everyone’s smoking on the sidewalks in short sleeves and drinking gin and tonics. The appearance of a few classic New York characters – David Byrne, The Walkmen’s Hamilton Leithauser, and photographer Quil Lemons – made the daydream feel complete.
Surrender was recorded in three locations: her parents’ garage, Electric Lady Studios in New York City, and Peter Gabriel’s Real World Studios. Rogers co-produced the album with Kid Harpoon.
Pink Floyd have shared ‘Hey, Hey, Rise Up!’, their first original music in 28 years. The song, which is being released to air the relief effort in Ukraine, features guitarist David Gilmour and drummer Nick Mason joined by longtime Pink Floyd bass player Guy Pratt and Nitin Sawhney on keyboards. It includes a sample of Andriy Khlyvnyuk, singer for the Ukrainian band BoomBox, singing the protest song ‘Oh, the Red Viburnum in the Meadow’ outside St. Sofia Cathedral in Kyiv. The title of the Pink Floyd track is taken from the final line of the song, which translates in English as “Hey, hey, rise up and rejoice!” Listen to it below.
“We, like so many, have been feeling the fury and the frustration of this vile act of an independent, peaceful democratic country being invaded and having its people murdered by one of the world’s major powers,” Gilmour said in a statement. He continued:
In 2015, I played a show at Koko in London in support of the Belarus Free Theatre, whose members have been imprisoned. Pussy Riot and the Ukrainian band, Boombox, were also on the bill. They were supposed to do their own set, but their singer Andriy had visa problems, so the rest of the band backed me for my set – we played Wish You Were Here for Andriy that night.
Recently I read that Andriy had left his American tour with Boombox, had gone back to Ukraine, and joined up with the Territorial Defense. Then I saw this incredible video on Instagram, where he stands in a square in Kyiv with this beautiful gold-domed church and sings in the silence of a city with no traffic or background noise because of the war. It was a powerful moment that made me want to put it to music.
All proceeds from ‘Hey, Hey Rise Up!’ will go to Ukraine Humanitarian Relief.
Wet Leg know the formula, and they know it by heart. Rhian Teasdale and Hester Chamber deliver catchy, sardonic, irrepressibly tuneful indie songs that soak up influences from a bunch of different eras – from the Ronettes to the B-52s, Pavement to Franz Ferdinand, the Breeders to the Strokes – while making themselves relatively at home in the current wave of talky British “post-punk” bands. And then they put their own spin on it, combining deadpan wit, flashes of vulnerability, and a touch of the surreal in a way that feels distinctly their own. ‘Wet Leg’ has an infectious hook and shout-along chorus that’s designed to make you want to dance, but mostly it makes me laugh at the thought of hearing 15 seconds of it in a telecommunications ad circa 2009 and then discovering it’s called ‘Wet Dream’ and includes lines like, “What makes you think you’re good enough to think about me when you’re touching yourself?” Wet Leg’s brand of absurdist humour – proudly dumb, often subtly clever, always unselfconscious – is a breath of fresh air in a scene that’s notorious for taking itself too seriously, and the fact that it comes in a poppier package means it’ll piss plenty of people off.
Which it already has. Since emerging last June with the viral hit ‘Chaise Longue’, Wet Leg have been met with rapturous praise and cynicism alike; despite having only played four shows, they already had a deal with Domino Records, and each new single leading up to the release of their self-titled debut LP only boosted their momentum. I don’t know if ‘Wet Dream’ has made it on any commercials, but Wet Leg did perform the song on live TV earlier this year, and it wasn’t their first late-night appearance. Their rapid rise to indie darling status has been as unconventional as their music is irresistable, a success story that seemed possible two decades ago but is now usually an indicator of overblown hype. Try and drown out the noise, though, and it’s hard to deny what the record has to offer, even beyond the immediate charm of the early singles. Take those into account, and the album as a whole still manages to live up to the hype. The duo’s unique chemistry is all over these twelve tracks, and their personality never feels manufactured or overly sanitized.
Wet Leg weren’t thinking about any of that when they were making the record. They couldn’t have – it was done before the world had the chance to hear ‘Chaise Longue’ – and that’s probably part of why it works. The quirky, casually playful energy they’ve become known for never comes off as knowingly self-aware, which makes the sexual innuendos (“Would you like us to assign someone to butter your muffin?”), biting remarks (“When I think about what you’ve become/ I feel sorry for your mum”), and occasional clumsiness (“You’re so woke/ Diet Coke”) land just as well. Memorable one-liners aside, the album generally mirrors the excitement of hanging out with a friend and not knowing if the next thing you’ll hear will be some bit of nonsense or an accidental revelation. You’re complaining about the chaos of being in your 20s – annoying exes, hating parties, getting sucked into social media – how it all makes you feel alone even though someone’s right there listening.
On ‘Ur Mum’, Teasdale lets out a long, cathartic scream, but the release is almost calculated – it’s not until ‘Too Late Now’ that things suddenly get real, when indecision becomes so paralyzing that she finds herself declaring, “I’m not sure if this is a song/ I don’t even know what I’m saying.” Wet Leg have said ‘Too Late Now’ is about “sleepwalking into adulthood,” which may be literal, but look at it another way and it’s kind of a fitting metaphor for the album’s lyrics – they’re not really about navigating adulthood, but the strange situations you get into when it just sort of happens. It’s the way the duo channel those emotional experiences that makes their music stand out. Their satirical lens might be what catches your attention, but Wet Leg showcases a more dynamic approach. It’s clear they want you to have fun, but something keeps standing in the way: The mantra on ‘Angelica’ is “Good times, all the time,” but the song itself, which builds to a noisy, distorted climax, is all about the alienation of trying to stick to it.
Similarly, ‘Being in Love’ and ‘Loving You’ make their titular subjects sound like equally impossible tasks. But where the first mixes frustration with driving guitars and a punchy hook, the latter is more downbeat while seething with genuine anger, as does the stripped-back yet unsparing ‘Piece of Shit’. Sometimes things turn into a ridiculous mess, and there’s no point dressing up the confusion: “It all used to be fun, now you’re swinging a gun ‘round your head,” Teasdale sings on ‘I Don’t Wanna Go Out’, before quipping, “At least we are all going to die” – a pretty grim statement from a band whose stated goal is to have fun. But if you’re all in on the same joke, sleepwalking through the same weird nightmare, maybe it kinda starts to make sense.
Action Bronson has announced a new album called Cocodrillo Turbo. It’s out April 29 via Loma Vista, and lead single ‘Subzero’ is out today. Check out its music video, directed by James Larese, below, along with the album’s cover art (painted by Bronson) and tracklist.
Following Bronson’s 2020 LP Only for Dolphins, Cocodrillo Turbo features appearances from Conway the Machine, Roc Marciano, Hologram, and Meyhem Lauren, as well as production from the Alchemist, Daringer, Roc Marciano, and Bronson himself. “I first came up with this album while in the water. I’ve spent many lifetimes in the water,” Bronson said in a statement. “I’m just a water man. I was born in the water, I’m a water sign.”
Cocodrillo Turbo Cover Artwork:
Cocodrillo Turbo Tracklist:
1. Hound Dog
2. Tongpo [feat. Conway the Machine]
3. Estaciones [feat. Hologram]
4. Jaws
5. Subzero
6 Turkish [feat. Meyhem Lauren]
7. Jaguar
8. Zambezi [feat. Roc Marciano]
9. Ninety One
10. Storm of the Century
Interpol have announced their new album: The Other Side of Make-Believe arrives on July 15 via Matador. Today’s announcement comes with the release of the new single ‘Toni’, which is accompanied by video from director Van Alpert. Check it out and find the LP’s cover art and tracklist below.
“It was a blast working with Van Alpert on the video for our song Toni,” singer Paul Banks said in a statement. “We bonded over shared film inspiration as well as a passion for classic music videos by the likes of Glazer, Cunningham and Jonze. Van, in my opinion, is in the club with these legends; and it’s exciting to watch him build his own enduring body of work.”
“I wrote a crazy idea that I felt was new for INTERPOL, a hyper-modern, cinematic dance film,” Alpert added. “A “Lover’s on the Run” story, with a classic cliffhanger ending. Dream job working for my all-time favorite band! Paul Banks ties everything together and elevated the concept, because he’s naturally a great actor, artist, and collaborator.”
Last year, it was reported that Interpol were working on the follow-up to 2018’s Maraude in London with Alan Moulder and Flood. Talking about working on the album remotely across 2020, Banks said:
We usually write live, but for the first time I’m not shouting over a drumkit. Daniel and I have a strong enough chemistry that I could picture how my voice would complement the scratch demos he emailed over. Then I could turn the guys down on my laptop, locate these colourful melodies and generally get the message across in an understated fashion. Flood told me the vocals on the demos evoked Mickey Rourke in Barfly, singing to a patron at the end of the tabletop, and we never felt the need to flip that smoky intimacy into something big and loud when it came to rehearse and record. I got a real kick out of doing the opposite.
1. Toni
2. Fables
3. Into The Night
4. Mr Credit
5. Something Changed
6. Renegade Hearts
7. Passenger
8. Greenwich
9. Gran Hotel
10. Big Shot City
11. Go Easy (Palermo)
Father John Misty is back with a new album, 
Wet Leg’s self-titled debut album is out now via 
Jack White has put out his new LP, Fear of the Dawn, the first of two new albums he’s releasing this year via 
Melbourne power-pop group Romero have dropped their debut album, 
Vince Staples has followed up his 2021 self-titled album with Ramona Park Broke My Heart, out now via 
billy woods and Preservation have teamed up for 
Nothing’s Ever Fine
Syd has returned with a new solo album, Broken Hearts Club, out now via 
Grizzly Bear’s Daniel Rossen has released his debut solo album, 
Brooklyn-based Filipino/Argentinian artist Renata Zeiguer has released her sophomore LP, 
Woodpecker
Deanna Petcoff’s debut LP, 
The Linda Lindas have dropped their debut album, 
Kae Tempest has released their fourth album, 
