Last month, Methyl Ethel’s Jake Webb teamed up with Hatchie for a rendition of Sophie B. Hawkins’ ‘Damn I Wish I Was Your Lover’. Today, he’s back with another cover, enlisting Los Angeles singer-songwriter Miya Folick for a version of Stereolab’s 1997 track ‘Brakhage’. Listen to it below.
On his Bandcamp page, Webb explained:
I had the great opportunity to see Stereolab play in Los Angeles a couple of years ago. They’re such a great band, an all-time favourite of mine and many others too. For this reason, I really wanted to do something completely different when covering Brakhage. I started off by replicating the song (which is basically two chords the whole time) in a basic way to send to Miya to record her vocals remotely. I’d been listening to a lot of music by the composer Alexander Scriabin and so borrowed this incredible rhythm from one of his piano sonatas for the bass line. I wanted the groove to have an uneven/confusing downbeat, so once this was all together, the rest was just a lot of experimentation. I had the idea of putting some really abrasive classic rock ‘n’ roll riff in there, I can’t really remember why, maybe as a joke. So I just recorded, with a microphone resting on a table in my kitchen, myself playing some white stripes rip off guitar riff with a shitty nylon string guitar and singing it at the same time a la George Benson or something. Once some very obnoxious Ableton distortion plugin was on there, the whole sound came together. The final touches were my references to Stan Brakhage, the eponymous filmmaker of the song. I made the sound of a film projector with white noise and a semi modular synth, a bell tolling and used the recording of my baby as a lazy homage to the artist and the themes most often represented in his films. Miya reading out all of the items literally surrounding her while recording her vocals is another way to use the obvious material as representation. I don’t know why, but I just sort of became interested in using ideas that I’d usually stay away from for fear of being criticised. Miya gave a really wonderful performance of the vocal too, her sweet and nuanced delivery is so perfectly suited and provides a brilliant counterpoint to all the buffoonery squeezed into the song by yours truly. I really love it!
Folick added: “I’m such a fan of Methyl Ethel and of Stereolab, so I was really excited to get to work on this song. I think lyrically, it captures the essence of a fear that I carry every day. All this stuff! Too much stuff. It’s hard not to hear this song as a statement about consumerism, which is both a spiritual and environmental problem. Even more so today than when the song was released in 1997. It’s a good and necessary reminder that we have to do more to curb our consumption, to take better care of our planet.”
Methyl Ethel released his latest album, Are You Haunted?, back in February, while Folick dropped her 2007 EP last month. Read our interview with Jake Webb about the inspirations behind Are You Haunted? and check out a track-by-track breakdown of 2007.
LA-based, Dallas-raised artist Liv.e has returned with a new single titled ‘Ghost’. It’s the first preview of a forthcoming album, details of which have yet to be announced. Check out a self-directed video for the track below.
“The concept for the visuals mirrors the energy of the song and my mind state when I wrote it,” Liv.e explained in a press release. “‘Ghost’ was made in observation of myself going through the stages of grief after a major loss.”
Gojira have released a new track called ‘Our Time Is Now’. Featured as part of EA Sports’ NHL 23 soundtrack, it marks the French prog-metal outfit’s first new music since the release of their album Fortitude last year. Listen to it below.
“This song goes out to all the fighters out there sparking a light in a dark world,” the band’s Joe Duplantier said in a statement. “Show that you are part of a change! If you care about something meaningful to you and your community. If you are standing for a cause, if you show compassion and solidarity for the ones whose rights are taken away, if you’re in a war defending your inherent rights or fighting against deforestation, if you’re standing for animal rights, human rights, you are the lightning bolt, the spark that will shape our world. Your time is now! Our time is now!”
Duplantier added: “Rest In Peace young Masha Amini. She was killed in Teheran for not wearing her hijab ‘properly’ by the ‘morality police’ and Rest In Peace all victims of brutalities during the protests that followed her death. We support the women of Iran in their fight, for taking a stand against oppression!”
Southern California punk band FIDLAR are back with a new single, ‘Sand on the Beach’. It follows ‘FSU’, which came out earlier this year and marked their first original music since the release of Almost Free in 2019. They’ll both appear a forthcoming EP that’s set to arrive in early 2023. Check out the new track below, alongside a video directed by longtime collaborator Ryan Baxley.
Pusha T ran through ‘Just So You Remember’ during his appearance on last night’s episode of Late Night With Seth Meyerson. Watch his performance below.
‘Just So You Remember’ taken from the rapper’s latest album, It’s Almost Dry, which arrived back in April via G.O.O.D. Music/Def Jam. Earlier this year, Pusha T brought his single ‘Diet Coet’ to Colbert.
Beloved Scottish actor Robbie Coltrane, known for the James Bond and Harry Potter franchises, passed away this morning at the age of 72.
He died at a hospital in Scotland, although an immediate cause of death is not known. Coltrane’s agent confirmed the news today to BBC, Deadline and The Guardian.
Coltrane was most known for playing the gentle giant Rubeus Hagrid in the Harry Potter films. Throughout the series, Coltrane’s Hagrid was a fatherly figure and close friend to Daniel Radcliffe’s Harry Potter.
The news of Coltrane’s passing today hit me today as I was among many fans who grew up alongside his warm portrayal of Hagrid. Earlier this year, Coltrane had reunited with his castmates on a Harry Potter reunion special, which aired on HBO Max.
I also fondly remember the actor from the James Bond series as well, as Coltrane played KGB agent-turned-Russian mafia head and Bond ally Valentin Dimitrovich Zukovsky in Goldeneye and The World Is Not Enough.
A beloved character as well, he also had various performances in films such as Mona Lisa, Ocean’s Twelve and Kenneth Branagh’s adaptation of Henry V.
Coltrane was born in 1950 in Rutherglen, Scotland as Anthony Macmillan. When he pursued acting in his early 20s, he took the stage name Coltrane as a tribute to jazz saxophonist John Coltrane.
At first, he primarily focused on British theatre and comedy. He first appeared in a theatre production of John Byrne’s The Slab Boys at the Traverse Theatre in Edinburgh. He then appeared in The Comic Strip Presents, a comedy TV series in which also he co-starred with his eventual Harry Potter co-star Dawn French (who played the Fat Lady in Harry Potter). Coltrane also starred in comedy sketch show Alfresco.
He was also known for playing forensic psychologist Dr. Eddie “Fitz” Fitzgerald in the British crime drama series Cracker. This won him the British Television Award for Best Actor for three consecutive years.
During HBO Max’s Harry Potter reunion special, Coltrane moved people to tears while he was reminiscing about the film franchise. “The legacy of the movies is that my children’s generation will show them to their children,” he said while he was tearing up. “So you could be watching it in 50 year’s time, easily. I’ll not be here sadly, but Hagrid will, yes.”
Coltrane’s passing makes this comment even more surreal.
John Ross had already entered the writing process for his latest Wild Pink album with a renewed perspective. He wasn’t interested in replicating the shimmering heartland rock of 2021’s A Billion Little Lights, which earned widespread acclaim and exemplified the kind of leveling up that’s hard to continuously keep chasing in music; instead, he wanted to experiment with more organic and unconventional sounds, to embrace an open mindset that would lead to fresh, exciting ideas. Many of the motifs that have cropped up throughout his discography, like ghosts and love and dreams, were already swirling in his mind. Then, halfway through the writing of the songs, Ross was diagnosed with cancer.
The phenomenal ILYSM, which is out today on Royal Mountain, avoids being exclusively about cancer but reflects the ways in which it imbued his life with urgency and meaning. Ross went on to record the album with a host of collaborators, including co-producers Justin Pizzoferrato and Peter Silberman (The Antlers), bassist Arden Yonkers, drummer Dan Keegan, and pianist David Moore of Bing & Ruth, as well as enlisting contributions from Julien Baker, J Mascis, Ryley Walker, Ratboys’ Julia Steiner, Samantha Crain, and Yasmin Williams, among others. And while the sound of the album is as lush and full-bodied as you would expect, there’s a surprising heft and at times deafening beauty to the arrangements, which are balanced out by moments of understated candor and intimacy.
Ross’ dreamlike lyricism, meanwhile, oscillates between wonderment and confusion, burrowing inward as much as it marvels at the world. He’s always been adept at combining the profound with the quotidian, and he does so here while flitting between a state of blurry disorientation and stark lucidity. There’s earnest simplicity and bleak humour, jarring transitions and quietly anthemic choruses, whispered confessions that land like a gut punch. Yet as deeply moving and transcendent as the album can be, Ross doesn’t push things too far in either direction, finding genuine revelations in the vast space in between.
We caught up with John Ross on the eve of ILYSM‘s release to talk about embracing earnestness, the writing and recording process behind the new album, traveling, and more.
Does playing these songs live give them a new weight for you, or does it release some of the weight that’s kind of been attached to them?
I’d say it’s more the latter. These were not songs that we had toured with before – we kind of figured it out in the studio, so it’s cool to rework some of them. Like, the song ‘ILYSM’ sounds pretty different now live than it does in the studio. It’s just been a really fun experience to bring these songs into a live setting. They’re probably a little more fun to play live, honestly.
How are you feeling about the response to the new material?
It’s pretty early still, but it seems very positive. Just encouraged, at least by what I’ve heard feedback-wise from the singles. There were times where I second-guessed making a record that dealt with illness, but it’s generally been pretty positive.
This is your fourth album, so it’s not the first time that you’ve gone through this vulnerable process of putting out music and being on the receiving end of that kind of support. But does it make you feel more nervous, to release an album about love and obsession and to potentially have this kind of fervent emotion echoed back to you? To have people love and obsess over it in that way?
Yeah, I definitely feel like apprehensive about that. It makes me nervous sometimes to write music that’s kind of earnest, you know? I feel like it just opens you up to criticism in a pretty brutal way sometimes.
It sounds like you’re less afraid to be earnest on this record.
Yeah, totally. I think that on this record, I couldn’t really deal in half measures, just because of the nature of some of the stuff, the way that I could with previous records where it’s maybe obscuring some lyrics or making them more cryptic. I kind of had to not do that this time and double down, which was nerve-wracking, honestly. It still is.
It’s definitely not an easy process to embrace that fully, no matter the circumstances. It’s still human nature to feel apprehensive about coming off as overly sincere or self-serious.
Yeah. I feel like I’m walking the line with this being pretty self-serious, again, because of what it’s about. I try to temper that with lighter moments, or maybe funnier moments in the record.
There’s a dynamic between humour and darkness on the record, but you don’t seem to be using it as a kind of armour. I’m thinking of the line “I’m just showing up every day like Cal Ripken, Jr.,” for example.
There’s at least an attempt at some gallows humour there, for sure.
Were you conscious about the heaviness of some of the things that you’re talking about and wanted to counteract that, or was it just how it came out when you were writing?
It’s definitely just the way it came out at the time. And that’s the kind of thing where I realized later how I was feeling – without getting into too much detail, I’ve never really felt the way that I did when in the worst parts of what was going on with my health. So moments like that just came out very organically.
Even though you were diagnosed with cancer during the writing process, you’ve said you didn’t necessarily set out to make an album about cancer. Lyrically, it seems like some of the emotional processing is happening on more of a subconscious level. Are you more aware now of how that experience influenced the direction of these songs?
I’ve always felt like I, in some cases, understand the songs and lyrics months later, and I think that that’s definitely starting to happen now. They feel a little different to me.
Do you feel that more strongly than you have in the past?
I think that this record, at least with regard to illness, when I do talk about it on the record, it’s pretty direct in my mind. I understood it at the time that I wrote it, it wasn’t ambiguous or anything like that. I couldn’t point to a lyric or a song off the top of my head that was ambiguous.
I’m not sure what your songwriting process was like before, but did a lot of the lyrics for ILYSM come out in a kind of stream-of-consciousness style?
In general, the lyric writing process takes the longest time. I think that maybe describing it as a collage more than stream-of-consciousness could be more accurate just because it does take a long time, and the thoughts are coming at different times about a bunch of different ideas.
Does that collage-like approach appeal to you musically as well?
Yeah, definitely. I think more so than previous records, where it just sounds like a band in a room – or not, maybe, in the case of the last record – but I just wanted to use a lot of disparate sounds to create collages at times. It’s a very fun way to turn a song on its head.
Were you surprised by any of the musical ideas or transitions that came up while you were experimenting? How did you determine what to keep and what held back from what you were trying to convey?
I would say that working with the band created a lot of opportunities to bring the songs away from the demo phase into what they became, particularly with David Moore, the piano player. There’s just no way to know how the songs would end up before we ended up playing together in the studio. We had never even met before then, so I think that just going in with an open mind about where the sounds were going to end up made it very easy, then, after the principal recording was done, to go fuck around with them afterwards, before mixing.
You’ve said that you didn’t want the album to sound too polished or too grandiose, but I feel like there’s a fullness and depth to both the more accessible songs and the more experimental moments. What do you think the difference is there, between something sounding full and expansive rather than just big? Was bigness, whatever it means for you, something you wanted to avoid?
I think I associate bigness, at least with regard to my songs, as being conventional song structures and kind of anthemic-sounding, but it doesn’t mean that a sound can’t still have a pretty lush arrangement and feel very full. I think that what I wanted to avoid was just some of the more conventional song tropes that I was working with on the previous record. I still love making big-sounding, full arrangements.
It makes me think about how, when I feel kind of existential, I don’t just think about how big things are. I feel like it’s just as much about everything as it is about nothing, and the space between those two, which to me is the space that this record occupies.
That’s amazing to hear. That’s really insightful to me. Maybe to your point, I like to write about mundane things, and I think sometimes when it works, it can be profound, and exist in that space between something and nothing.
Listening to your previous records, I also get that feeling of the beauty in everyday life, or this kind of existential wonder. Was that less than ideal and more just something that felt real this time?
Yeah, I think so. I think it was unavoidable. Making a record going through all that shit – whatever I ended up with was going to be more real to me, you know. It wasn’t something that I set out to do, it just kind of ended up that way.
You use ghosts and aliens as metaphors on this record, and you’ve cited Signs and the show Surviving Death as inspirations. What appeals to you about exploring love through mystical imagery?
Starting with love as an idea was pretty arbitrary. The movie Signs and that Netflix show were pretty early inspirations when I started writing this record, and I think kicking around ideas about love and obsession was just a jumping-off point. I can’t say why it started there except that it just did; it started with thinking about those things.
I get why you would get curious about that connection between love, or being loved, and being haunted. That’s maybe another space you explore.
Definitely. And I think that ghosts are pretty evergreen stuff – ghosts are in tunes of mine from the first record, even.
At this specific moment in time, what do you love about being in Wild Pink that you never expected to – not just expected to be real, but to appreciate so much?
That’s a great question. I mean, this is like a no-brainer, but honestly, traveling. I just really enjoy that part of it. Making records is my favourite thing in the world to do as well. Those aren’t unexpected, though.
What do you love about traveling?
I guess I really enjoy the newness of it. Just starting each day not knowing exactly how it’s going to go. It’s like the opposite of mundane, which really fires me up.
Do you avoid writing when you’re on the road?
I do a lot of writing on the road, actually. Which is kind of ironic, because we’re talking about writing about mundane things. For some reason, it’s actually very helpful to be out of my comfort zone.
I guess the thing about traveling is that it doesn’t feel mundane, but there are certain aspects of it that seem mundane. There’s more to the feeling than what’s on the surface, and maybe that’s where the inspiration lies, when you’re, like, sitting at a coffee shop waiting to get back out there.
Yeah. I think that, at least with regard to traveling on tour, there’s a cycle to having the most fun ever, playing a great show like last night [in Boston, MA], and then waking up the next day and sitting in a coffee shop and then playing another show that night. That kind of extreme up and down – you can find a little bit of everything in that, the extremes of mundane and excitement.
This interview has been edited and condensed for clarity and length.
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The goalscoring position is arguably the most important within the starting 11. Without any goals, you can’t win, and if you can’t win, then you’re probably going to lose or, at best, draw (which no one wants). In this guide, we’ll look at some of the most impressive young strikers in the game of FIFA 23. From well-known names to the underlooked, this list has it all.
Erling Haaland (Overall 88 – Potential 94)
Haaland is world-class — it’s that simple. At only 21, he is looking to break many records within the Premier League — having already scored 15 goals within nine games. And they said Bundesliga was the farmer’s league. Haaland first gained attention back in 2017 when he signed for Norwegian side Molde under Ole Gunnar Solskjær. He scored 14 goals in 39 games for the Norwegian team before moving to the Austrian Bundesliga in 2019. Upon his arrival at Red Bull Salzburg, there was a lot of hope for the youngster, who was also establishing himself within the Norway U18 and U19 sides, scoring plenty of goals for the national teams. At RB Salzburg, Haaland developed a sickness for scoring goals, managing to bag 17 in only 16 games — a truly majestic feat even in the Austrian Bundesliga. After such big success, it wasn’t long before others started to get interested in him. German Bundesliga’s youth-minded Borussia Dortmund signed the youngster €20 million. The club made a great decision as Haaland bagged 62 goals in only 67 games for the side, making him a great replacement for the Polish Lewandowski. Just two years after, Haaland moved again. This time to his childhood club, a club his dad played for in England — Manchester City. €60 million was the fee they paid for him. A minor price for such a talent nowadays. Haaland joined the English signed in May of 2022 and began playing for the club in the 2022-23 season, making a quick mark scoring 15 goals in nine games. Internationally, Haaland also has been succeeding in achieving 21 goals within only 23 games for the Norway national side. The current record for the most goals scored for the national team stands at only 33, set by Jørgen Juve. A player who played football over 100 years ago. Haaland looks not just to break that record but to eradicate it. Haaland currently averages 0.91 goals per game.
In terms of the game, Haaland is just as powerful and majestic as he is in real life. With an overall rating of 88, he is already world-class and has the potential to grow into a 94-rated striker. The rating which only the best in the world claim at the peak of their career. Regarding market value, he is estimated to cost around €148 million though Man City have set a release of €303.4 million (Yes, it is ridiculous). He has tonnes of great attributes that just make him hard to criticise. His lowest attribute that is somewhat important within his stat line is FK accuracy which comes at 62. Though, he doesn’t need it when he has players like De Bruyne in his team. Haaland also has many great player specialities, including aerial threat, distance shooter, strength, clinical finisher, and complete forward. So, if you’re truly building the best in the world team on your career mode save, Haaland must be in your squad.
Yeremy Pino (Overall 79 – Potential 87)
While Pino can play the right-mid position, he can certainly and has been utilised as a striker. The 19-year-old currently plays for Villareal, a club which he joined in his youth career back in 2017 after playing for Las Palmas. Pino has made over 62 appearances for the main team and scored ten goals for the side. He has also played several games for the Spanish national team and has scored his first international goal against Iceland.
Game-wise, Pino is rated 79, which makes him a solid addition to any mid-table team in the Premier League, Bundesliga, or even La Liga. He is certainly shouldn’t be dismissed especially knowing that he has the potential to reach an overall rating of 87 — making him scary good. In terms of movement, Pino has solid stats, though he doesn’t compete against the likes of Mbappe or Haaland. Overall he is pretty well-rounded and has a market value of €38 million. If you’re looking to skip negotiations, then you can sign him by breaking the release clause, which comes at €87.4 million. Sadly, Pino does not have a real face within the game — a little surprising considering his status within the game.
Carney Chukwuemeka (Overall 64 – 86)
Chukwuemeka of Chelsea has only played a single game for the side. At only 18, he has made over 13 appearances for the senior Aston Villa side before arriving in London. Internationally, he has also been selected and has contributed seven goals across the U18 and U19 England sides. While he is still early in his pro career, Chukwuemeka has certainly been put on the radar as one to watch and, in the summer of 2022, was selected as part of the UEFA European Under-19 Championship Team of the Tournament.
When it comes to the game, Chukwuemeka is rated low even for an 18-year-old. But, he has a phenomenal potential of 86, which can be acquired if you buy him quickly for around €1.9 million. Though a release clause of only €5.4 million is available. In terms of attributes, he doesn’t have anything outstanding yet but possesses the flair trait with 4-star skill moves.
Marko Lazetić (Overall 65 – Potential 85)
Marko Lazetić is one of many marvellous young talents to come out of Serbia. Having played for Red Star Belgrade in his youth and made 15 appearances in his senior career for the side, in 2022, he moved to Seria A’s AC Milan, which he has made one appearance for. For Serbia, he has represented the U16 and U19 sides, scoring once for the U16 and five times for the U19 side.
Lazetić, like Chukwuemeka, is rated relatively low within the game (though age is part of the equation). At 65 rated, he can grow into a top-notch striker with a potential of 85. Money-wise, he comes at a transfer value of €2 million though he can be bought for €5.4 million under the release clause. Like other players on our lists, he has no real face scan within FIFA 23.
The right-midfield and right-wing positions have been played by some of the most majestic players in football history, including the likes of George Best, Cristiano Ronaldo, and Lionel Messi — especially in their younger years. In this helpful FIFA 23 guide, we’ll look at some of the most exciting prospects you should be scouting in career mode.
Bukayo Saka (Overall 82 – Potential 89)
Saka has already faced some tough opposition within his professional footballing life, having played for Arsenal in the Premier League and the England national team at the Euros — even reaching the final in which he missed a decisive penalty. Yet, he is rightly regarded as one of the most exciting talents to come out of Europe in the last few years. Only at 21, Saka has made over 106 appearances for Arsenal and over 20 appearances for England. He is a well-experienced left-footed youngster with a lot to offer with his speed and willingness to push the ball forward on the pitch.
Within FIFA 23, Saka doesn’t disappoint. He starts with a solid rating of 82 but can reach the potential of 89 rated player. His movement attributes are imbecile and are complimented nicely by his dribbling and crossing ability. In terms of the transfer value, Saka starts at €60.5 million but can be acquired through a release clause of €127.1 million. As expected, Saka has a real face scan and can also be switched to play on the left side of the field.
Antonio Nusa (Overall 68 – Potential 88)
Norway’s Antonio Nusa is only 17 and has already made a mark for Club Brugge, having played eight games for the side and scoring his first goal against FC Porto in the Champions League. Internationally, he has made several appearances for Norway’s U17 side but will look to progress through the ranks in the coming years with his growth.
Game-wise, Nusa is somewhat of a hidden gem. Rated only 68, he can be underlooked against the many others who are in his starting position. However, his potential of 88 is what makes any career-mode manager excited. Like Saka, Nusa has spectacular movement attributes and can grow into a beast within the game. He possesses technical dribbler and flair traits with 4-star skill moves, making him a fun player on your team. When it comes to money, Nusa is cheap, coming in at €3.3 million transfer value with a release clause set at €7.9 million. Sadly, Nusa doesn’t have a real face scan within the game yet, but we’re sure that will change in the next few years.
Sávio (Overall 70 – Potential 86)
Brazilian winger Sávio is one of many exciting prospects to come out of the country in recent years. He has established himself as a solid player for PSV, who is currently loaned out from ESTAC Troyes. In terms of appearances, he’s only played for PSV once but has made several appearances across the Brazilian youth national sides, including games for the U15, U17, and U20 sides.
Only at 18, Sávio is a relatively exciting player within the game, possessing solid movement attributes and an admirable ability to manipulate the ball with control and skill. Sávio initially starts with a rating of 70 but can grow into a savage-like player with a potential of 86. He can also be adapted for the CAM position if you’re unsure of his ability on the wing. He has no release clause but can be bought for upwards of €4 million when his loan period finishes at PSV.
Matteo Cancellieri (Overall 73 – Potential 86)
Italian winger Matteo Cancellieri has already made an appearance for his senior national side and Lazio’s first team since being on loan from Hellas Verona. At only 20, Cancellieri is establishing himself as a rising star in Seria A and looks to continue his quick success with more goals and appearances within the 2022-23 season.
When it comes to the game, he has a sweep of great traits, including flair, outside foot shot, long shot taker, and speed dribbler. As you can guess, he has solid movement attributes accompanied by his dribbling and ball control. Within the career mode, his market value begins at €7 million. For a player with a 73 overall rating and a potential of 86, that’s more than fair.
Kayky (Overall 66 – Potential 86)
Kayky is a talked about name among Man City fanatics, mostly because he has been showing great promise since being picked up from Fluminense FC. While only having played one game for Manchester City, the 19-year-old has already made four appearances whilst being on loan at F.C. Paços de Ferreira. Back in 2019, Kayky also made two appearances for the Brazil U16 national team.
If you remember him from FIFA 22, then you’ll be happy to know that Kayky is just as thrilling in FIFA 23. With a small rating of 66, Kayky can grow into a beast with a potential of 86. Kayky’s fastidious movement attributes make him great for counter-attacking football. He is a steal at only a market value of €2.4 million and can fit many EFL League One and SPL sides looking for a player that can grow into a world-class talent.
Noni Madueke (Overall 77 – Potential 86)
Madueke is another thrilling prospect currently playing for the Dutch side PSV. The 20-year-old Englishman is well-established in Eredivisie, having made 46 appearances and scoring ten goals for the side. In addition, he has played for England’s U21 side four times after making more than a few appearances for the U16, U17 and U18 national sides.
In the game, Madueke is highly compelling, with an overall rating of 77 that can grow into a mighty 86. Although he is still only 20, his majestic movement and dribbling make us wonder why he hasn’t been called up to the senior national team. Southgate bias? Well, who knows — right? As a significant piece at PSV, he has a market value of €23 million but can be bought for €36.8 million if you go for the release clause. Luckily, Madueke does have an accurate face scan within the game for the pedantic hoping for a detailed squad.
