Troye Sivan has teamed up with Gordi for a new song called ‘Wait’. It follows his recent collaboration with Jay Som, ‘Trouble’, and will appear on the soundtrack for the coming-of-age film Three Months, which Sivan stars in. Both tracks were produced by Styalz Fuego. Take a listen below.
Troye Sivan and Gordi previously joined forces on the track ‘Postcard’, taken from Sivan’s 2018 album Bloom. “I love collaborating with Troye,” Gordi said in a statement. “He has this unique way of speaking in images that we then try and translate into melody and lyrics. Our instincts with songwriting really seem to align and after our work on ‘Postcard’, I was excited to have another chance to work together. He told me all about 3 Months and said he wanted to write an original song for it. As a proud member of the queer community, I felt a deep connection to the film. We wanted to write a song that was worthy of the story.”
Three Months was released yesterday (February 23) on Paramount+. Last year, Sivan was announced as part of the cast for The Weeknd’s upcoming HBO series The Idol.
Vundabarhave shared a new song, ‘Lore’, the latest preview of their upcoming album Devil for the Fire. The track arrives with an accompanying video created by vocalist/guitarist Brandon Hagen and Broadway set designer Corey Umlauf. Check it out below.
In a press release, Hagen said that ‘Lore’ is “a walk through a bending mind. It’s about the lineage of meaning, about how all these invisible threads of history, construct and memory (personal and collective) permeate everything around us and in many ways eclipse and obscure the moment. So much of life is made opaque by residuals of the past, so much of our thought exceeds our ability to understand a complicated and evermore complicating world and a history we live in but do not remember. Yet the brain stores that history and writes it into our DNA. It dictates the formation of our reality in ways that exceed our ability to consciously understand it. The song wonders where the line is drawn between the self and the world of ghosts that we navigate, it wonders how much of oneself is a mosaic of the past and how many of those disparate pieces can be placed to form a new image in the eye of the beholder.”
Of the video, Hagen added: “The goal was to create a reality that feels amorphous and bendy, to reflect the concepts in the song. We used the film 1962 horror film Carnival of Souls as a reference, as it follows a protagonist through a reality that is warping and distorting and has a feel that alternates between playfulness and dread.”
Devil for the Fire is due out April 15 via Amuse. It includes the previously released singles ‘Ringing Bell’, and ‘Aphasia’, and the title track.
Craig Whittle first saw Hannah Merrick sing at a university band showcase night; he remembers her playing a song solo, just guitar and vocals, and being blown away by the depth and power of her voice. It wasn’t until years later, when they became co-workers in a bar and she was teaching him how to clean tables and lay out cutlery, that the pair properly met. It took more time still for them to start making music together, but their patience paid off: after self-releasing their debut single ‘Crème Brûlée’ in 2019, the Liverpool-based duo got endorsed by Sharon Van Etten, and City Slang reached out with a proposal to sign the band. The label put out King Hannah’s debut EP, the six-track Tell Me Your Mind and I’ll Tell You Mine, last year, and will be releasing their debut full-length, I’m Not Sorry, I Was Just Being Me, this Friday.
It’s a striking album that more than builds on the promise of the band’s earlier material: a dark, murky air with echoes of ‘90s acts like Portishead and Mazzy Star permeates the songs, but they’re imbued with a mix of sweetness, humour, and vulnerability that makes them feel unique to King Hannah’s personality. And so, despite their penchant for ethereal soundscapes and simmering tension, it’s no surprise that they end things with a simple, heartfelt refrain: “And I thank God, the day we met in the gross bar/ We’re doing it, so that we can live our whole lives just doing this/ It’s you and me, kid/ You and me, kid.”
We caught up with King Hannah’s Craig Whittle and Hannah Merrick for this edition of our Artist Spotlight interview series to talk about how they first met, their musical journeys, their debut album, and more.
The first time you crossed paths was when Hannah was performing an open mic set during university. How do you each remember that night?
Craig Whittle: I think I remember it differently to Hannah.
Hannah Merrick: Probably.
CW: I went to this university band night to see my friend playing bass in some terrible band. It was a very bad night, I still don’t remember most of it. And then Hannah got up and played a few songs. I think some songs you played with a drummer, but I remember one song you played with an acoustic. And she absolutely blew me away, I thought she was so good. Her voice was sensational. And the song was so good. I can still remember the song now – I only heard it ten years ago, that’s the only time I’ve ever heard it. But then that was it, and it was a few years later that I finally started working in the bar that Hannah was working at too. And you were quite embarrassed, weren’t you, when I mentioned that night?
HM: Yeah, I remember the night because I thought it went really badly, the performance. And then when I met Craig, he said about it, and I just remember being, “Oh, I hated that night.” [laughs] So yeah, two very different angles of the night.
At what stage in your musical journeys were you both in at the time?
CW: I’d just finished university, I did Creative Writing. And that’s when I was sort of deciding what I want to do, whether to try and be a writer or – I’d played music since I was like 13, I played in bands but in very small places and mostly just writing songs in my bedroom. I’ve always wanted to do music, but I never really met the right people I could do it with as like a career. How about you?
HM: I was at uni and I was actually looking for a guitarist. There was one at the uni I was at who I joined forces with, but then he left the uni, so I was looking for a new one. That was it, just writing songs, ready to show whoever this new guitarist was going to be. Turns out to be… [gestures at Craig] This guy.
CW: Spoiler.
How do you look back on the songs that you were writing at the time individually?
CW: Maybe a little bit soppy. [Hannah laughs] A little bit on the nose. I feel like when I was younger, I always felt I had something to say and I was quite, like, emotional.
HM: Aww.
CW: Whereas the older I’ve got, I’m not like that really, I’m just very… okay. [all laugh] Stopped caring about things. But when I was younger I was like, “This is so deep and meaningful, I need to say something.”
HM: That’s cute.
CW: I’m not like that anymore.
HM: In a different way. Like caring and loving, just in a less cheesy way.
CW: Yeah. What about you?
HM: I was a bit more folky, maybe. I always liked doing the repetitive thing, probably ‘cause that’s all I can do, so that’s always been there. I think that’s got a lot to do with the way we sound today.
After meeting properly, how long did it take for you to become comfortable in writing or even just sharing music with each other?
HM: Long time, wasn’t it?
CW: Yeah, it was a long time.
HM: We had a little routine. I’d always come around to his flat with my little acoustic guitar, sit down, and build up the courage to play whatever song it was, and then just not be able to do it. I’d be like, “Okay, I’m gonna do it now.” And nothing would come out because I was too nervous to sing. And that went on for a really, really long time.
CW: It was very different for me because I wasn’t coming to you with a song I’d written. But we were very patient with each other at the start. Now, you kind of see that it was very needed, it was a natural thing that we had to go through.
Hannah, what was it that gave you the confidence to do it?
HW: I remember that moment. I was working in the bar – and because it was a thing, they’d be like, “Oh, how did you get on?” And I was always like, “I couldn’t do it.” And they’d be like, “Oh, come on, you just got to do it.” And there was one girl in particular who just couldn’t believe it. She was just like, “Why can’t you do it?” I was like, “I don’t know, I just can’t do it.” And she was like, “Hannah, just do it. Just go there and sing.” And I was like, “Okay.” It sounds really silly, but it was one person in particular that just forced me to do it.
Craig, do you remember the time when that happened?
CW: I remember that you slowly started singing and showing me little parts. I remember a few, but I won’t sing them now. [laughs] But no, I don’t remember that time. Obviously, I wasn’t there, I don’t know who that was.
HW: It was Alex.
CW: Oh, was it? Thank you, Alex.
HW: Thank you, Alex.
Thank you, Alex. [all laugh] When you think back to that time, or even when you first saw Hannah performing, is there an element to the sound that you have now that you would never have imagined coming from the two of you collaborating?
CW: That’s a very good question. Yeah, I think that it’s definitely noisier and more raw-sounding and grungy. When I first saw Hannah play, the song was very folky. I think at the start, if I ever had to have chosen an artist that I thought we would have ended up sounding like, it would have been someone like Laura Marling. We both loved Laura Marling – I still love Laura Marling, but we’ve gotten a lot more into ‘90s bands. Once we started playing together, our music tastes changed. Now it’s a lot bigger and dirtier – it still has that folkiness in parts, because we still love that kind of thing, but it’s grown from that.
I wanted to ask a question related to your album titles: Tell Me Your Mind and I’ll Tell You Mine and I’m Not Sorry, I Was Just Being Me. I was wondering if being honest – or an honest version of yourself – means the same to you now as it did a few years ago.
CW:I think we’re more conscious of being honest now. I think it’s more of, we need to make sure that we’re coming across as honest, authentic people. I don’t think that we really had that with the EP. I think with the EP we wanted to make sure that –
HW: We got signed.
CW: Yeah. [laughs] And that things sounded as professional as we could. Early on, we treated the EP as almost like a showreel of what we can do. Obviously we always wanted to be honest people, but I think now it’s definitely more of a conscious thing. And also, the artists we listen to now are very honest.
HW: Yeah, and so different to the music we were listening to then.
CW: I think that’s what we respond to most, people like Bill Callahan and Phil Elverum and Silver Jews. It’s brutally honest music, it’s as personal as you can get. You can write about anything and everything – as long as it’s personal to you, there’s no sort of filter there.
HW: And there’s also no filter with the arrangement or the instrumentation around it. You just do what you want to do.
That’s what I had in mind in terms of, there’s different shades to being honest – it doesn’t necessarily mean the music has to be sad or melancholy. On one hand, there are moments on your album that are self-aware and playful, and there are others that are earnest in a darker sort of way. How do you go about balancing those different moods? Is it more of an instinctual thing?
CW: It’s more instinctive, isn’t it? I think some moments are darker, but the overriding thing that we want people to come away with is kind of a warmth. A lot of it is writing about childhood and memories and nostalgia – we both had very warm childhoods. And humour is a big part of our day-to-day life, so it made sense for that to be on the album. It all happened very naturally. One song that was definitely a more conscious one was ‘Berenson’, because listening to the tracks we had at the time, I was thinking it was maybe a bit too downbeat, a bit too dark. So that was an attempt to inject a bit more warmth into it. I think it comes from making stuff, listening back to it, and then you get a grasp of how people will hear the album. And then you want to make sure that it covers all the bases that you wanted to cover.
As you mentioned, you both allude to childhood memories in your songwriting. There’s that warmth in the way that you both approach it, but I also noticed some differences: the tone on ‘Ants Crawling on an Apple Stork’, which Craig had written in part some years ago, is more regretful compared to a song like ‘Go Kart Kid’, which looks back with more of a sense of gratitude. Do you think you have a different perspective on your youth or songwriting in general, or is it that you wrote these particular songs differently?
CW: I think that we both look back on our childhood in very similar ways. We had different childhoods, we didn’t know each other at all, obviously, lived quite far away. That song came from missing being a child, how every experience you have is a new one. And the older you get, that disappears. The way I wrote that was snapshots of little memories, vivid images that I can remember from being a kid. Maybe the warmth comes from the instrumentation of that song. And regret – you can never get your childhood back. You can never have those kinds of moments back. And maybe when you’re a kid, you don’t really appreciate them as much as you wish you could if you could go back and live all that again. But I mostly just missed that feeling of things being new and learning things.
HW: The first time I heard it, it made me quite sad, actually. Because I know Craig personally, you’ve told me before I heard that song that you miss childhood. You miss not having no responsibilities, being a lot freer. But I get that straight away from the song.
CW: My favourite film as a kid was Peter Pan, so that was ingrained in me since I was three or something.
What about you, Hannah? What was your favourite film?
HW: I loved My Girl. I thought I was Vada. I still do.
CW: That’s a sad film.
HW: It’s a really sad film.
CW: Maybe that’s why our music’s so depressing. [all laugh]
HW: But I always thought she was really cool. She was that cool kid and she was a bit tomboy and I was bit tomboy. And I just loved that her best friend’s a boy and she used to climb trees and ride bikes.
When you realized that childhood is kind of a running theme on the album, did you talk about childhood more?
CW: We’re very open with each other. We speak about that all the time anyway.
HW: We’re both very close to our families, so it’s a daily conversation, isn’t it?
CW: And we’re always talking about memories that crop up from when we were our kids.
If you’re comfortable sharing, can you tell me one thing that inspires you about the other person?
HW: Aww, I love that.
CW: There’s gotta be one. [Hannahlaughs] I love how determined Hannah is. Obviously we all have doubts and vulnerabilities, but she’s always believed that this is possible. I maybe didn’t at the start. She believes in herself completely, and she gets up every single day and writes in the morning. And she doesn’t stop. I’m not like that, I’m a little bit lazy. But Hannah knows and has worked every single day since I’ve known her to get it. So I’d say that was very inspiring. If we were both like me, we’d both be working at the bar. [alllaugh]
HW: That’s very kind. What I love and admire about Craig is how he is obsessed with – it sounds silly, but he’s obsessed with music. He’s so good at listening to new music. His ears are impeccable. He hears stuff that me and the average Joe just can’t hear. He takes control in all band practices. He knows everybody’s parts. He can hear everyone’s parts. He’s just a sensational musician, not just guitarist. And he’s got the best taste in music of anyone I’ve ever met. And probably will ever.
CW: Probably?
HW: Will meet, then.
This interview has been edited and condensed for clarity and length.
The popularity of vintage Chanel handbags has greatly increased in recent years. Whether You’re looking for a Chanel WOC, Chanel Fanny Packs, or a Chanel Classic Flap bag, the attention towards these vintage bags is still strong. Even with the presence of new designs every year, these bags remain popular, which shows that vintage Chanel handbags are classics, and will always be in style. It’s obvious why many people want to own them, but there are also those who end up buying fakes instead out of ignorance or because they simply don’t know how to spot them. There are some buyers who can’t afford to purchase authentic pieces so they settle for fakes thinking they’re good replicas; while some believe that if it’s sold on eBay then it must be real; others buy without doing any research because an “expert” assured them that the bag is original. However, if these people were aware of how to spot a fake they wouldn’t have been duped.
What is considered a vintage Chanel bag?
Vintage Chanel handbags are those which were made and sold at least 10 years ago. However, there are some fakes that try to look like newer models so if you’re buying online make sure the item is no less than 20 years old. Vintage bags should come with a serial number and a vintage authenticity card (white or light pink) with the words “est. patent” printed on it. The inside lining should also have “Chanel Made in France” stamped on it – but only if the bag was manufactured before 1997 because after this year all Chanel bags had their interiors stamped with just “Made in Italy.” Likewise, vintage Channels should not have any markings of an ADN model number on the hardware nor should they have a serial number that begins with the letter “A.” Lastly, there’s also no Chanel logo on the handle.
What are considered vintage Chanel fakes?
The best way to protect yourself from getting duped is to know what fake vintage Chanel bags should look like even if they are bulk bags. There are some fakes that so closely resemble the real ones that even experts can hardly tell them apart, which is why it’s important to be well-informed before deciding whether to purchase an old bag. Authentic vintage Channels may cost you a pretty penny but at least your money will be worth it since you won’t end up buying a replica that costs about 5% of the original price.
What are the most obvious signs of faux Chanel?
There are various ways how to identify fake Chanel handbags; here are just some of them:
1. Serial Number:
Authentic vintage Chanel bags have a serial number located inside the bag. The last two digits of this code should match the year of manufacture. For example, if it was made in 1980, the last two digits would be “80.” In addition, they never start with the letter “A,” which means all numbers from 1 to 9 are used before any letters appear.
2. Stampings:
If you see an old Chanel bag that’s been stamped on the outside and says something like “Made in Italy,” then you know for sure you’re holding a replica in your hands. Since 1997 Chanel has been using this type of stamping – sometimes accompanied by a barcode under it or not – but only on non-vintage items.
3. Damaged Hardware:
Another big giveaway of fake Chanel handbags is damaged hardware, which includes loose or bent lockets and keys with broken chains. Authentic vintage Channels do not have these flaws because they were made to last a long time. At some point, you might need to get your locks replaced but this won’t damage the bag’s appearance; it will still look like new – even more so if you bring it to an official Chanel boutique for repairs.
4. Authenticity Card:
The authenticity card is attached to the vintage bag inside by two little metal tabs which are often broken on fakes. Also, there’s no Chanel logo printed on it so if you see one then chances are you’re looking at a replica.
5. CC Logo Clasp:
One of the easiest ways to spot fakes is if they do not have the logo on the lock. Authentic vintage Chanel bags always have this logo, however, there are some replicas that try to trick people by using another color besides silver for the CC clasps. Some even use gold ones but since it’s only one tiny detail you won’t really get fooled by this if you don’t know what you’re looking for.
6. Zipper Pulls:
The zipper pulls of authentic vintage Chanel are flat while their replicas’ are round or curved at both ends. Original zippers also do not have any loose pieces hanging from them nor should they be set too tightly into their casing.
How can I avoid getting duped?
If you’re buying online make sure the seller has a good track record, check for positive reviews, and always make sure to pay with PayPal. Also, check all the photos of the item you want to purchase – if they’re blurry or low resolution they may be hiding something. Finally, ask yourself whether you can afford to lose hundreds or even thousands of dollars should the bag turn out to be fake; if your answer is no then don’t buy it.
Vintage Chanel pricing:
The older the Chanel item, the more expensive it’s going to be. However, the price also depends on where you’re buying it and if it’s authentic or not. Replicas are everywhere so try to ask yourself what you’re prepared to pay for a vintage piece before making any decisions.
Conclusion:
If you’re a vintage handbag collector then knowing which is the most valuable Chanel bag to collect can help you achieve your goals. Since prices are expected to keep rising it’s best to acquire rare pieces now before they become too expensive.
If you love to read, you might feel passionate about passing on your love of reading to your child. Of course, you can’t force your child to enjoy reading, but you can help to encourage an enthusiasm for books and reading. As your child grows older, you can help them to explore a range of books and different ways to read. Reading can help them to explore their imagination, learn new things, and ensure they have vital skills for their future. It’s not just important for them to read words on a page but also to have good reading comprehension. To pass on your love of reading, do the following things.
Start Early
If you want your children to love reading, starting early is the best thing to do. You don’t have to wait until your child is old enough to read themselves. In fact, reading to your child when they’re younger can encourage them to want to read as they get older. Even babies can enjoy books. They can get used to holding and looking at baby books from a young age. You can also read to your baby from age-appropriate books or even from whatever you’re reading. It can help to create a love of reading, as well as develop their language skills.
Adapt to Their Needs and Reading Style
Every child is different, so it’s important to recognize that you might have to adapt to your child’s preferences and needs. Whereas you might love reading fiction, perhaps your child gets excited reading about science or history. You might also want to consider looking at tools such as dyslexia books for children who might find it a little more difficult to read. Some children might like to read along with an audiobook. Others might like comics or graphic novels.
Go to the Library
Visiting the library is always a good idea if you want to foster a love of reading in your children. You’ll find that librarians are often willing and enthusiastic about helping you to find the right books and encouraging your child to read. It’s a good way to allow your child to pick out what they want to read, rather than only giving the books they have to read for school. The library can be a great environment for reading in and exploring books too. If you don’t have an accessible library, even a visit to a bookstore can be fun.
Keep Reading Together
Even when your child learns to read, you don’t have to stop reading together. You can still read to your child or you can take turns reading a book together. Another option is for both of you to read the same book (or other material) independently but then discuss the book together. It’s a good way to improve reading comprehension and also encourage independent thought and creative thinking. You can use books to prompt discussions on a range of topics.
Share your love of reading with your kids and you could see it grow into a passion of their own.
When we think of slit dresses, the first image that pops into mind is Jessica Rabbit’s outfit from the 1980’s movie “Who Framed Roger Rabbit.” That sparkling red-colored ensemble with a thigh-high slit sparked the most daring trend in the fashion world. Surprisingly, that is still going strong!
Dresses with slits are a classic formal look. While thigh-high slits resonate with the glamor of red carpets and runways, in real life, you can turn heads in a modest slit with no drama.
As per formal dress experts Sherri Hill, when shopping for an all-the-rage short or long designer dress with a slit, choose the *one* that fits you like a glove. Do a trial run in the dressing room to check the fitting – front & back. Make sure it doesn’t create wrinkles, and there is no room for a peekaboo moment when you move.
Be it your prom, formal evening gala, cocktail party, or just a bright sunny day, a designer dress with a slit is sure to make you look flattering. Of course, the trick to perfectly style a slit is to make sure you show off only what you want to display; otherwise, there is a good chance of a fashion mishap during the occasion.
Luckily, our fashion experts have endless secrets for pulling off the hottest trending slit dress without a wardrobe malfunction. Keep reading!
Pick The Slit In Line With Your Comfort
No doubt, a thigh-slit worn by your favorite celebrity on the red carpet is quite tempting to adorn, but it is a big “no” if you are not comfortable with exposing it all.
Wait, this doesn’t mean that you cannot jump into the exclusive trend – because YOU CAN!
All you have to do is choose the slit as per your comfort. You can take a mid-calf or just a small slit to transform your statement into flirtatious and sexy.
Remember, a small slit in the front or side is enough to elevate your appearance. Peep into this gorgeous off-shoulder tiered Sherri Hill gown with a moderate side slit for the proof.
2. Make Sure The Dress Fits You Perfectly
The right fits matter, and it’s a no-brainer!
When shopping for an all-the-rage short or long designer dress with a slit, choose the *one* that fits you like a glove. Do a trial run in the dressing room to check the fitting – front & back. Make sure it doesn’t create wrinkles, and there is no room for a peekaboo moment when you move.
A fitted slit dress that is also taped down well is a secret to the showstopping look of your dreams.
3. Go For A Long Hemline
If you are all heart at sizzling thigh-high slits but at the same time don’t want to compromise on your comfort, we recommend you try long dresses and skirts. The extra fabric prevents the dress from slipping or ripping, making it convenient.
More than that, it builds up your confidence to flaunt a sexy, cosmopolitan look on without any hesitation.
Good News: You can easily find elegant high-slit long dresses from the top designers’ line, such as Sherri Hill Couture, on clearance sale.
4. Think Of Tights
Think of tights, leggings, or lingerie stockings if you are looking for a complete savior for your slitted dress. Make sure only to pick the voguish tights, such as fishnet, sheer printed tights, polka dot tights, or plain colored tights.
Marry your high-slit dress with a complementing tight will cover your legs, helping you feel secure. Bonus? It will add a hint of glamor to your look, and you will feel more stylish than before.
5. Spanx In Your Rescue
Perhaps, you are all into the latest slit trend but afraid to show off the faulty parts of your body. This is where Spanx, the perfect body shaping gear, enters the scene. It will create an illusion of a slimmer look, giving you the confidence to rock in the high-slit designer dress of your dreams.
Nevertheless, you must ensure that you feel comfortable with Spanx under your slit dress. The best way is to practice sitting, standing, and even dancing at home before you leave for the party.
6. Heels May Help
Believe it or not, but heels have the magic to fix everything in a girl’s life – your mood, as well as your style game. In the case of your designer gown or dress with slit, heels work well and make your legs look longer.
Of course, you can play with the style of heels to create a personalized look. Choose stilettos, wedges, or block heels as per your comfort. In addition, ankle boots are also a great match for your slit dress, especially if you want to flaunt the dress a bit more.
7. Stitch It Up
Are you full of beans about showing off a trendy statement in a slit dress but fear from the too revealing high slit? Fret not; it’s an easy fix! You just have to stitch it up for a bit more coverage.
Note: While altering your high-slit dress, validate that the dress still fits right on your body. The slit should lay and tape down well.
8. Balance It Out
While showing off the skin is a way to flaunt a celebrity kinda statement, the “too much” of that can be awkward and ungracious. So, focus on balancing the see-through effect of the slit with elegant details, such as a high neckline and long sleeves.
Besides, keep the accessories simple to avoid going overboard. A subtle pair of studs and a bracelet is enough to add allure to your look.
Do you realize the added advantage of toning down the rest of the look? You can let the slit take center stage, while you being an ultimate urban diva.
Stun All Eyes With Stunning Slit!
Slit dresses are a hot trend this season; they are no longer the realm of the red carpet. You can also wear them to classic formal occasions or dazzling parties to throw sass around like confetti.
And, now that you already know the best tips and tricks to slay in a slit dress without any fashion faux pas, wait no more and start shopping for the *one* now. Don’t forget to browse through designer Sherri Hill’s dress collection for exclusive styles, colors, and details.
David Byrne, Mitski, Moses Sumney, André 3000, and Randy Newman are among the artists who have contributed to the soundtrack for the upcoming A24 film Everything Everywhere All at Once. The sci-fi film is scored by Son Lux, whose 49-track album also features Nina Moffitt, Chris Pattishall, Rob Moose, yMusic, Surrija, and actor Stephanie Hsu. Mitski and David Byrne duet on ‘This Is A Life’ and ‘This Is A Life (Extended)’, while André 3000 plays flute on multiple tracks. Check out the full tracklist below.
“Even though we knew from the moment Daniels asked us to score this film that it would push us in new and unexpected directions, we couldn’t have predicted how much we’d learn from the project,” Son Lux said in a statement “What emerged was our most ambitious undertaking to date, over two years in the making, resulting in two hours of new music. It was an opportunity for us to play, to infuse humor into our work, and to experiment from and beyond our various musical backgrounds.”
Everything Everywhere All at Once is directed by Daniel Kwan and Daniel Scheinert and will hit theaters on March 25, following its premiere at SXSW Film Festival on March 11. The soundtrack is out on April 8.
Everything Everywhere All at Once (Original Soundtrack) Tracklist:
1. This Is a Life (Extended) [feat. Mitski and David Byrne]
2. Wang Family Portrait
3. Very Busy
4. Vvvery Busy
5. What Are You Thinking About?
6. What a Fast Elevator!
7. Switch Shoes to the Wrong Feet
8. Nothing Could Possibly Matter More
9. A Choice
10. Chapstick
11. The Fanny Pack
12. Jobu Tupaki
13. The Alphaverse
14. The Mission [feat. Nina Moffitt]
15. Deirdre Fight
16. Waymond Cries
17. I Love You Kung Fu
18. My Life Without You [feat. André Benjamin]
19. The Story of Jobu [feat. Nina Moffitt]
20. Rendezvous at the Premiere
21. It’s You… Juju Toobootie [feat. Chris Pattishall and Nina Moffitt]
22. Everything Bagel
23. You’re Living Your Worst You
24. The Boxcutter [feat. André Benjamin]
25. Send Every Available Jumper
26. Opera Fight [feat. Surrija and yMusic]
27. Dog Fight [feat. André Benjamin]
28. Drummer Fight
29. Plug Fight
30. Pinky Fight [feat. André Benjamin]
31. I Have Been Watching [feat. Rob Moose and Nina Moffitt]
32. Somewhere Out There in All That Noise
33. Jobu Sees All
34. The Temple
35. Evelyn Everywhere
36. Evelyn All at Once
37. This Is How I Fight
38. In Another Life
39. It All Just Goes Away
40. Clair de Lune (Pied au Piano) [feat. Chris Pattishall]
41. Come Recover (Empathy Fight)
42. Your Day Will Come (Empathy Fight)
43. Let Me Go
44. Specks of Time
45. This Is a Life [feat. Mitski and David Byrne]
46. Fence [feat. Moses Sumney]
47. Now We’re Cookin’ [feat. Randy Newman]
48. Sucked Into a Bagel [feat. Stephanie Hsu]
49. I Love You
Victor Mucho, the project of Judah & the Lion’s Brian Macdonald, has shared a new song, ‘so terribly hurt’, featuring Nashville singer-songwriter Molly Parden. It’s taken from his upcoming solo debut, Moonlight in Visby, which is set for release on May 13. Take a listen below.
Macdonald wrote and recorded Moonlight in Visby while living on the remote island of Gotland, Sweden in the Baltic Sea. The album was produced by Tobias Fröberg (Peter Bjorn and John, Ane Brun).
“‘So terribly hurt’ was written & recorded in the middle of a dark, Swedish winter,” Macdonald explained in a statement. “This song embodies the cold, lonely side of Love. The person who you love most is also the person you are capable of hurting the most. I am honored to have my friend, Molly Parden, (a fellow Nashville musician) singing verse two on the song. Her voice brings a transcendent and ethereal quality to a vulnerable moment in the album.”
oso oso, the project of Jade Lilitri, has returned with a new single titled ‘Pensacola’. Check out its accompanying video, directed by Dan Maddalone, below.
According to a press release, ‘Pensacola “tells the story of a man with so many DUIs, he can’t even drive the 79 miles to where his lover lives. Lilitri sees a bit of his own situation in the track, having recently relocated from his hometown in Long Island to a more remote area of Pennsylvania. He isn’t far, but just far enough that the isolation can often result in similar feelings of longing.”
The new track follows oso oso’s 2019 LP basking in the glow. Last year, Lilitri released a cover of the Beatles’ ‘I’m Only Sleeping’.
Jeanines, the NYC duo of Alicia Jeanine and Jed Smith, have announced their sophomore LP. Don’t Wait for a Sign, the follow-up to their 2019 self-titled debut, arrives on April 22 via Slumberland. Lead single ‘Any Day Now’ is out today alongside a video directed by Artsick‘s Christina Riley. Check it out below, and scroll down for the album’s cover artwork and tracklist.
Don’t Wait for a Sign Cover Artwork:
Don’t Wait for a Sign Tracklist:
1. That’s Okay
2 .Any Day Now
3. People Say
4. Don’t Wait For A Sign
5. I Lie Awake
6. Got Nowhere To Go
7. Who’s In The Dark
8. Dead Not Dead
9. Never Thought
10. Gotta Go
11. Through The Vines
12. Turn On The TV
13. Wishing Well
