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How Jewelry Influences Modern Art and Fashion

Jewelry has never been just an accessory; it’s a statement, a form of self-expression, and, in many cases, a work of art. From ancient civilizations to today’s high-fashion runways, jewelry has played a defining role in shaping aesthetics and cultural identity. But in the modern era, its influence goes beyond decoration.

Let’s dive into seven fascinating ways jewelry continues to shape and influence contemporary art and fashion.

Jewelry as Wearable Art

Jewelry has transcended its traditional role as an accessory; today, it stands as a medium of artistic expression. Designers use diverse materials like gold, enamel, and gemstones to craft intricate pieces that resemble miniature sculptures.

Many contemporary artists collaborate with jewelry designers to create limited-edition pieces that further blur the lines between fine art and high fashion. Avant-garde designs by brands like Alexander McQueen and Maison Margiela illustrate how jewelry can function as an artistic statement rather than merely a decorative piece.

Jewelry’s Investment Value and Its Connection to Trends

Jewelry is a valuable investment, as well as a fashion statement. Collectible pieces, particularly those featuring rare gemstones like garnets, have gained prominence in the market.

The latest garnet jewels, for instance, are becoming increasingly popular due to their increasing desirability among collectors. This shift reflects a growing awareness of jewelry’s long-term financial worth, influencing purchasing decisions beyond mere aesthetic appeal.

Influence of Gemstones on Fashion Trends

Each season, leading designers incorporate specific stones to highlight colors and textures that align with their collections. Garnets, for example, have recently gained prominence and admiration in fashion due to their deep red hues and historical significance.

The resurgence of birthstone jewelry has also fueled consumer interest in gemstones, influencing not just jewelry design but also fabric colors and embellishments seen in couture collections.

Jewelry as a Cultural Symbol in Fashion

Fashion often draws inspiration from the symbolic meanings embedded in jewelry. Pieces such as talismanic pendants, evil eye charms, and religious amulets carry cultural narratives that extend beyond aesthetics.

Jewelry in indigenous and heritage-based fashion brands often incorporates traditional craftsmanship techniques that preserve cultural identity while catering to modern tastes.

Designers like Gucci and Dior have embraced these cultural elements by integrating symbolic motifs into their jewelry collections and broader fashion lines.

High Jewelry and Its Role in Luxury Fashion

Luxury fashion houses recognize the importance of high jewelry. That’s why they often create collections that merge fashion with opulent gemstones and metals. Iconic brands such as Cartier, Bulgari, and Tiffany & Co. regularly debut high-jewelry collections that parallel their latest runway looks.

Red carpet events highlight this synergy, with celebrities donning couture gowns complemented by statement jewelry pieces that amplify the overall aesthetic. The exclusivity and craftsmanship of these pieces elevate fashion to an art form, thus solidifying jewelry’s significance in the luxury industry.

The Rise of Sustainable and Ethical Jewelry in Fashion

As sustainability takes center stage in the fashion world, jewelry designers are embracing eco-friendly materials and ethical sourcing practices. Conflict-free diamonds, recycled gold, and lab-grown gemstones have become sought-after choices for conscious consumers.

Fashion brands now collaborate with ethical jewelry designers to align their collections with the values of environmental responsibility and fair labor practices. This movement proves that sustainability and elegance can coexist without compromising artistic expression.

Statement Jewelry and the Era of Maximalism

Minimalism in fashion may come and go, but statement jewelry has emerged as a defining trend in modern fashion. Oversized earrings, chunky gold chains, and bold rings have dominated runways and social media alike.

Designers and influencers use jewelry to make a powerful visual impact that transforms simple outfits into standout ensembles. This developing resurgence of bold, expressive jewelry echoes past eras while embracing contemporary artistry, proving that accessories are just as crucial as the garments they accompany.

Customization and Personalization in Jewelry

Modern consumers prefer jewelry that tells their own story, which has triggered a rise in personalized and customizable designs. From engraved pendants to birthstone rings and initial necklaces, jewelry has become a deeply personal form of self-expression.

Luxury brands and independent designers alike now offer bespoke services that allow customers to create one-of-a-kind pieces that reflect their identity, heritage, or milestones. This shift towards personalization highlights how jewelry is no longer just an accessory but a meaningful extension of individuality and personal style.

Conclusion

Jewelry has a profound influence on modern art and fashion: it serves as a bridge between history, culture, and contemporary style. Whether through wearable art, gemstone-driven trends, or high-jewelry collaborations, its impact is both aesthetic and symbolic.

13 New Songs to Listen to Today: Esther Rose, Waxahatchee, and More

There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Tuesday, February 4, 2025.


Esther Rose – ‘New Bad’

Esther Rose has announced a new album called Want, the follow-up to 2023’s Safe to Run, arriving May 2. It’s led by the single ‘New Bad’, which comes paired with a music video directed by Anna Marie Tendler. It’s a defiant and compelling way to introduce the record. “This song leaps from the speakers. It’s part grunge, part shoegaze,” Rose remarked. “Working with Anna Marie Tendler was the collaboration I’ve always dreamed of. We sparked an easy, natural rapport out of mutual admiration for each other’s artistry. After I read her book Men Have Called Her Crazy, I sent her a note, saying that my unreleased album and her memoir were apparently spiritual twins. Luckily, she agreed.”

Waxahatchee – ‘Mud’

Nobody writes about knotty relationship dynamics like Katie Crutchfield, and the language of new Waxahatchee single echoes her Plains track ‘Hurricane’: “I might beam with empty virtue/But I’m a feather blowing in your storm garbage, weather worn,” she sings, backed by MJ Lenderman, who guests throughout her latest album Tigers Blood. ‘Mud’ may be an outtake from that LP – if only because the line “I can’t stick around” contradicts the sentiment of beloved lead single ‘Right Back To It’ – but Waxahatchee still naturally knocks it out of the park.

Macie Stewart – ‘Spring Becomes You, Spring Becomes New’

“This piece reminds me of a cross country train ride through different sceneries and landscapes,” Macie Stewart said of ‘Spring Becomes You, Spring Becomes New’, which leads her forthcoming album When the Distance Is Blue. “It’s the feeling when you’re witnessing everything pass outside your window, knowing you may never set foot there.” It certainly tickles the imagination.

Mei Semones – ‘Dumb Feeling’

Mei Semones has announced her debut album, Animaru, arrives in May. The lead single ‘Dumb Feeling’ is a knotty yet endearing blend of bossa nova and salsa.

Anika – ‘Hearsay’

Anika has announced Abyss, the follow-up to 2021’s Change, with a brooding rocker called ‘Hearsay’. “This song is about media moguls — about the power of the media, whether social, TV or beyond — we are as much under its spell as we ever were and some nasties are exploiting it for their own gains,” the Berlin-based musician explained in a statement. “Parasites feeding off the blood of the public — PJ Harvey inspired for sure.” You can definitely hear that influence.

Squid – ‘Cro-Magnon Man’

‘Cro-Magnon Man’ is the final single from Squid’s upcoming LP Cowards, which lands on Friday. It’s a twitchy, propulsive cut that imagines a timeline where meaningless objects outlive us humans, and it features vocals from guitarist Louis Borlase alongside Clarissa Connelly, Tony Njoku, and Rosa Brook.

Valerie June – ‘Joy, Joy!’

“Everyone has felt moments of darkness, depression, anxiety, stress, ailments, or pain,” Valerie June said in a statement about ‘Joy, Joy!’, the radically jubilant lead single off her upcoming record Owls, Omens, and Oracles (out April 11). “Some say it takes mud to have a lotus flower. This song reflects on the hard times we might face: to fail, to fall, to lose, to be held down, to be silenced, to be shut out yet still hold onto a purely innocent and childlike joy. I come from a heritage of ancestors who lived this truth by inventing blues music. Generations after they’ve gone, the inner joy they instilled in us radiates and lifts cultures throughout the world. From the world to home, what would a city council focused on inspiring inner joy for all of a town’s citizens look like? As the times are changing across the planet, what would it look like to collectively activate our superpowers of joy?”

girlpuppy – ‘I Just Do!’

girlpuppy, the project of Atlanta’s Becca Harvey, has a new album on the way: Sweetness is out March 28 through Captured Tracks, and it’s led by the charmingly earnest ‘I Just Do!’. “I wrote this song after spending 6 days in Los Angeles with a guy I had an all consuming crush on,” Harvey explained. “It’s just about that feeling of knowing you’re wasting your time by developing feelings for someone who is completely emotionally unavailable, but you do it anyway because it feels good. I wrote this entire song and then recorded a voice note of me singing it acapella in my bathtub (where I get lots of inspiration for songs). I brought it to Alex [Farrar] and he built the instruments around the melody I wrote and it turned out so much fun. This is definitely gonna be my favorite song to play on tour.”

Patrick Wolf – ‘Dies Irae’

Patrick Wolf has announced his first new LP in 13 years, Crying the Neck, which arrives on April 25. Lead single ‘Dies Irae’, which bases part of its string arrangement on the Medieval Gregorian chant ‘Dies Irae’ from the Latin mass, is stirring and dynamic. “I finished the lyrics as an imaginary last conversation with my mother in her art studio and out to the garden as the evening falls,” explained Wolfe, who wrote much of the record while mourning the passing of his mother from angiosarcoma cancer in 2018. “My sister Jo Apps came in the last days of mixing to sing the backing vocals, and in a way, it meant that we could both share a last dance in the kitchen with our ma together.”

Alex Orange Drink – ‘Queen Victoria’ [feat. Conor Oberst]

Alex Orange Drink, who guested on Bright Eyes’ most recent LP Five Dice, All Threes, has now enlisted Conor Oberst on ‘Queen Victoria’, the lead single off the So So Glos’ frontman’s new album Victory Lap (#23) (out May 9). “‘Queen Victoria’ is about the symbolic death of the pre-smartphone world,” Alex Zarou Levine explained. “Trying to get through to someone who’s got their ‘cell’ out. It’s about walking a dangerous path toward self destruction. My grandmother who died by suicide in 1970 appears on the single artwork, and Conor Oberst is featured on the song.”

JJULIUS – ‘Dödsdisco’

Julius Pierstorff, the musician who records as JJULIUS, has a new song out called ‘Dödsdisco’. Twinkly and smooth, the track is taken from the upcoming album Vol. 3, which features drums by Viagra Boys’ Tor Sjödén, though you’d never have guessed from the sound of this one.

Child Star – ‘Adore’

It’s not been long since Olivia Osby, one half of the duo Lowertown, put out her latest solo effort, and she’s already launched a new project named Child Star with fellow New York musician Sean Henry. ‘Adore’, though hauntingly lo-fi, is quite different from much of Osby’s output so far.

David Grubbs – ‘Queen’s Side Eye’

David Grubbs has released an expansive guitar-based instrumental titled ‘Queen’s Side Eye’. It’s the latest offering from his upcoming album Whistle From Above, which will get released on February 28 through Drag City.

Sleeper’s Bell – ‘Bad Word’

Chicago folk duo have released ‘Bad Word’, the latest single from their forthcoming debut LP Clover. It’s as achingly delicate the feeling it coasts on: “We got right back together/ Now we treat her name like a bad word/ Feeling light as a feather/ Til I think about her,” Blaine Teppema sings. In a statement, she said, “I wrote this song playing ‘Real or Not Real’ with my friend. We would sing a song and the other person had to guess if it was ‘real’ or ‘not real.’ The melody just came to me during the game and I wrote the words later.”

 

Big Thief Release New ‘Passional Relations’ EP to Benefit LA Fire Relief

Big Thief have released a new EP called Passional Relations to be benefit wildfire relief efforts in California. A majority of proceeds from the five-track release will be donated to the Plus1 LA Fires Fund, with the rest directly supporting local musicians, artists, and community members. It’s only available at Big Thief’s website, and you can buy it here.

Most of the songs on Passional Relations were recorded in 2020, during the sessions for 2022’s Dragon New Warm Mountain I Believe In You: ‘Imagination’ and ‘Light as Light’ were tracked with Dom Monks that year, while ‘Waiting on Blue’, featuring vocals from Mat Davidson, was made with Scott McMicken. A new version of ‘Zombie Girl’, which previously appeared on Adrianne Lenker’s songs, was recorded by Sam Owens (aka Sam Evian) at Flying Cloud. Only ‘Shadow Too’ dates back to 2018, with the band’s James Krivchenia handling the recording in Topanga, California.

“Our hearts are broken for everyone affected by the fires in California,” Big Thief said in a statement. “We’ve put together some of our favorite unreleased songs into an EP called Passional Relations, only available on our webstore, and all proceeds will go toward providing relief for those impacted by the fires in Los Angeles. Our hope is that these contributions will not only help address the crucial and immediate needs of affected communities but also help sustain the work, identity, and culture of the artists within them.”

 

Mei Semones Announces New Album ‘Animaru’, Shares New Single

Mei Semones has announced her debut full-length, Animaru, which lands on May 2 via Bayonet Records. It follows the Brooklyn-based singer-songwriter’s 2024 EP Kabutomushi, which made our best EPs of 2024 list. Check out a video for the lead single ‘Dumb Feeling’ below, and scroll down for the album cover (by Seiko Semones) and tracklist below.

“‘The Dumb Feeling’ music video is a depiction of a day in my life in the city — running around the city, rehearsing with my band, taking the train back & forth between Manhattan and Brooklyn,” Semones explained in a statement. “I wanted the video to represent what the song means to me — my love, gratitude, and contentment with the city, my friends here, the music we make, and the charming chaos here, like the screeching trains and the rats & pigeons.”

Semones approached the new collection with newfound self-assurance, according to a press release. “No second-guessing, no overthinking,” Semones said. “The way I want to live my life is by doing the things that are important to me, and I think everyone should live that way.” She recorded the new LP with her five-piece band in the summer of 2024 at Ashlawn Recording Company, a farm studio in Connecticut owned by their friend Charles Dahlke.

Animaru Cover Artwork:

Animaru Tracklist:

1. Dumb Feeling
2. Dangomushi
3. Tora Moyo
4. I Can Do What I Want
5. Animaru
6. Donguri
7. Norwegian Shag
8. Rat With Wings
8. Zarigani
9. Sasayaku Sakebu

Macie Stewart Announces New Album ‘When the Distance Is Blue’, Unveils New Single

Macie Stewart has announced a new album, When the Distance Is Blue, her debut for the jazz and experimental label International Anthem. Arriving on March 21, it’s led by the shimmering new single ‘Spring Becomes You, Spring Becomes New’, which comes paired with a video filmed and directed by Mikel Patrick Avery. Check it out below, and scroll down for the album artwork and tracklist.

“This piece reminds me of a cross country train ride through different sceneries and landscapes,” Stewart said of ‘Spring Becomes You, Spring Becomes New’ in a statement. “It’s the feeling when you’re witnessing everything pass outside your window, knowing you may never set foot there.”

Billed as a suite of compositions, When The Distance Is Blue is described by Stewart as “a love letter to the moments we spend in-between.” Its title is lifted from Rebecca Solnit’s book of essays A Field Guide to Getting Lost. Throughout the record, Stewart weaves together prepared piano, field recordings from her various travels, and string quartet compositions featuring herself on violin, Whitney Johnson (aka Matchesse) on viola, Lia Kohl on cello, and Zach Moore on double bass.

Revisit our Artist Spotlight interview with Macie Stewart.

When the Distance Is Blue Cover Artwork:

When the Distance Is Blue Tracklist:

1. I Forget How To Remember My Dreams [feat. Lia Kohl]
2. Tsukiji
3. Murmuration/Memorization
4. Spring Becomes You, Spring Becomes New
5. Stairwell (Before and After)
6. What Fills You Up Won’t Leave an Empty Cup
7. In Between
8. Disintegration

Waxahatchee Releases New Single ‘Mud’

Waxahatchee has dropped a new single, ‘Mud’, an outtake from the sessions behind her Grammy-nominated 2024 album Tigers Blood. Check it out below.

“I’m not the one to keep betting against the odds, yeah/ It won’t go my way forever,” Katie Crutchfield sings on the track. On a completely unrelated note, Tigers Blood lost Best Americana Album to Sierra Ferrell’s Trail of Flowers at last Sunday’s Grammy awards. Check out where it landed on our 50 Best Albums of 2024 list.

 

The Ultimate Guide to Slot Games: Everything You Need to Know

Slot games have been a staple of the gambling world for over a century, captivating players with their simplicity, excitement, and potential for big wins. Whether you’re a seasoned gambler or a newcomer to the world of casinos, understanding the ins and outs of slot games can enhance your gaming experience. In this comprehensive guide, we’ll explore the history of slot games, how they work, the different types available, and tips for maximizing your chances of winning. Plus, we’ll introduce you to the convenience of สล็อตเว็บตรง, a modern way to enjoy your favorite games from the comfort of your home.

A Brief History of Slot Games

The origins of slot games date back to the late 19th century. The first-ever slot machine, known as the “Liberty Bell,” was invented by Charles Fey in 1895. This mechanical device featured three spinning reels and five symbols: horseshoes, diamonds, spades, hearts, and the Liberty Bell. The machine became an instant hit, and its design laid the foundation for modern slot games.

Over the years, slot machines evolved from mechanical devices to electromechanical systems and eventually to the digital versions we see today. The introduction of video slots in the 1970s revolutionized the industry, allowing for more complex gameplay, advanced graphics, and exciting bonus features. Today, online slots dominate the market, offering players endless themes, immersive experiences, and the convenience of playing anytime, anywhere.

How Slot Games Work

At their core, slot games are based on random number generators (RNGs), which ensure that every spin is entirely independent and fair. Here’s a breakdown of how they function:

  1. Reels and Paylines: Traditional slot games feature reels (usually 3 to 5) that spin when you press the “Spin” button. Paylines are the lines on which winning combinations are formed. Modern slots can have anywhere from 10 to hundreds of pay lines.
  2. Symbols: Each reel is filled with symbols, and matching these symbols along a payline results in a win. Common symbols include fruits, numbers, letters, and themed icons.
  3. RNGs: The RNG is the brain of the slot machine. It generates thousands of random numbers per second, determining the outcome of each spin. This ensures fairness and unpredictability.
  4. Payouts: The amount you win depends on the combination of symbols and the size of your bet. Each slot game has a paytable that outlines the payouts for different combinations.

Types of Slot Games

Slot games come in a variety of styles and formats, catering to different preferences and playing styles. Here are some of the most popular types:

1. Classic Slots

Classic slots, also known as fruit machines or three-reel slots, are reminiscent of the original mechanical slot machines. They feature simple gameplay, fewer pay lines, and traditional symbols like cherries, bars, and sevens. These games are perfect for players who enjoy a nostalgic experience.

2. Video Slots

Video slots are the most common type of slot game today. They feature five or more reels, multiple pay lines, and advanced graphics and animations. Video slots often include bonus features like free spins, multipliers, and interactive mini-games, making them highly engaging.

3. Progressive Slots

Progressive slots are linked to a network of machines, with a portion of each bet contributing to a growing jackpot. These jackpots can reach life-changing amounts, making progressive slots a favorite among players chasing big wins.

4. 3D Slots

3D slots take video slots to the next level with stunning three-dimensional graphics and animations. These games often have intricate storylines and characters, providing an immersive gaming experience.

5. Megaways Slots

Megaways slots are a relatively innovation that offers thousands of ways to win. Instead of fixed pay lines, these games use a dynamic reel system that changes with every spin, creating endless possibilities.

6. Branded Slots

Branded slots are based on popular movies, TV shows, or celebrities. These games feature familiar characters, soundtracks, and themes, appealing to fans of the original content.

Tips for Playing Slot Games

While slot games are primarily based on luck, there are strategies you can use to maximize your enjoyment and potentially increase your chances of winning:

  1. Choose the Right Game: With so many options available, it’s important to find a slot game that suits your preferences and budget. Look for games with a high return-to-player (RTP) percentage, as these offer better long-term payouts.
  2. Set a Budget: Before you start playing, decide how much you’re willing to spend and stick to it. This will help you avoid overspending and ensure that you’re playing responsibly.
  3. Take Advantage of Bonuses: Many online casinos offer bonuses like free spins, deposit matches, and loyalty rewards. These can extend your gameplay and increase your chances of winning.
  4. Play for Fun: Remember that slot games are meant to be entertaining. Don’t chase losses or play with money you can’t afford to lose. Focus on enjoying the experience rather than solely aiming for big wins.
  5. Try Free Demos: If you’re new to slot games or want to test a new title, look for free demo versions. These allow you to play without risking real money, giving you a chance to learn the rules and features.

The Rise of Online Slots

The advent of the internet has transformed the way people play slot games. Online slots offer unparalleled convenience, allowing players to enjoy their favorite games from the comfort of their homes or on the go via mobile devices. Here are some of the benefits of playing online:

  • Accessibility: Online casinos are open 24/7, so you can play whenever you want.
  • Variety: Online platforms offer thousands of slot games, far more than any land-based casino.
  • Bonuses: Online casinos often provide generous bonuses and promotions to attract and retain players.
  • Flexibility: You can play for free or with real money, depending on your preference.

One of the best ways to enjoy online slots is through Direct web slots, which allow you to access your favorite games instantly without the need for downloads or installations. This hassle-free approach is perfect for players who want a seamless gaming experience.

Why Choose Direct Web Slots?

Direct web slots have become increasingly popular due to their convenience and accessibility. Here’s why they’re a great choice for slot enthusiasts:

  1. No Downloads Required: Unlike downloadable casino software, direct web slots can be played directly in your browser. This saves storage space on your device and eliminates the need for lengthy installations.
  2. Instant Play: With direct web slots, you can start playing immediately. Simply visit the casino’s website, log in, and choose your favorite game.
  3. Compatibility: Direct web slots are compatible with all devices, including desktops, laptops, tablets, and smartphones. This means you can enjoy your favorite games on the go.
  4. Security: Reputable online casinos use advanced encryption technology to protect your personal and financial information, ensuring a safe and secure gaming experience.
  5. Wide Selection: Direct web slots give you access to a vast library of games, from classic slots to the latest releases. You’ll never run out of options to explore.

Conclusion

Slot games have come a long way since the days of the Liberty Bell, evolving into a diverse and exciting form of entertainment. Whether you prefer the simplicity of classic slots or the immersive experience of video and 3D slots, there’s something for everyone in the world of slot gaming. By understanding how slot games work, choosing the right type of game, and playing responsibly, you can maximize your enjoyment and potentially walk away with some impressive wins.

For a seamless and convenient gaming experience, consider trying Direct web slots. With no downloads required and instant access to a wide range of games, it’s never been easier to enjoy the thrill of slot games from your home. So why wait? Start spinning those reels today and see where your luck takes you!

The Best Albums of January 2025

In this segment, we round up the best albums released each month. From Bad Bunny to Kathryn Mohr, here are, in alphabetical order, the 11 best albums of January 2025.


Bad Bunny, DeBÍ TiRAR MáS FOToS

That Bad Bunny would make an album that finds him reconnecting with the musical traditions of Puerto Rico, one that triumphantly doubles as a love letter to his motherland, is not exactly a surprise. But you barely have to scratch beneath the surface to acknowledge just how piercing, comprehensive, and ambitious of an effort Debí Tirar Más Fotos is – not only does it survey genres like salsa, plena, and música típica, but for those listening on YouTube, each of its accompanying 17 visualizers serves as a history lesson about Puerto Rican history. As musically rich as it is daring, the record also scans as one of Bad Bunny’s most personal, reeling from different kinds of loss, from cultural displacement to heartbreak. It’s way less of a detour than the global superstar reaching a new peak in predictably admirable fashion.


Bonnie “Prince” Billy, The Purple Bird

Will Oldham isn’t used to working with outside producers, but his collaboration with David “Ferg” Ferguson has been a long time coming. He met the seasoned producer over twenty years ago while Johnny Clash was recording a cover of his classic Bonnie “Prince” Billy track, ‘I See a Darkness’; Ferguson engineered the record it appeared on, American III. Having maintained a deep friendship with Ferg, who even played at his wedding, Oldham cherishes the opportunity to finally make an album together, traveling down to Nashville and assembling a stellar cast of musicians and local heroes for the sessions that became The Purple Bird. The result is a countrified take on a Bonnie “Prince” Billy album, equal parts wry and wistful, but more hopeful than it once might have sounded: still seeing a darkness, perhaps – “the oceanic tumble of think,” as he puts it on ‘New Water’ – but learning to wash it away and rise to the morning light. It’s well worth the wait and trouble. Read the full track-by-track review. 


Ela Minus, DÍA

DÍA is no less self-reflective than Ela Minus’ breakout debut, 2020’s acts of rebellion, a record whose fragile, blurry intimacy was tied to a year of pandemic isolation. Though it revs up every strain of electronic music the producer and singer-songwriter, born Gabriela Jimeno, likes to toy with – from icy synthpop to sinewy ambient to brazen electroclash  – the new album only vows to dig deeper. In hindsight – and by expanding the setting of her creative process to include not only her native Colombia but also the Mojave Desert, Los Angeles, New York, Seattle, Mexico City, and London – she grew warier of the blind optimism that spreads through the genre and sought to punch through the façade of her own project. “Writing DÍA I thought, ‘Wait, who am I really?’” she said. Definitive or not, the answer it provides is heartfelt, gritty, and self-affirming. Read the full track-by-track review.


Ethel Cain, Perverts

\It would be natural to view Perverts, the daring follow-up to Ethel Cain’s 2022 breakout Preacher’s Daughter, as a response to, and rejection of, everything about success that might register as noise, not least because it was accompanied by a Tumblr post entitled ‘The Consequence of Audience’Preacher’s Daughter amassed a fervent following, and Perverts no doubt poses a challenge to the segment of Cain’s audience that has trouble engaging with the artist’s persona in the absence of unambiguous lore and soaring melodies. Yet the 90-minute project – promotional materials variously refer to it as a “body of work” or even an “EP,” so yes, technically not an album – does not feel like a departure so much as an opportunity for Hayden Anhedönia to home in on the esoteric darkness she holds a deep reverence for, the eerie dissonance and muffled silences that were seen tangential rather than core to her songwriting. Read the full review.


FKA twigs, EUSEXUA

There’s no shame in describing the deepest of pleasures in simple language: “It feels nice,” FKA twigs declares on ‘Room of Fools’, a highlight off her third album EUSEXUA, while another track is called ‘Girl Feels Good’. But the pop iconoclast is as gifted at putting things succinctly as she is at nuanced expression of both body and soul, which is why she’s spent so much of the album’s rollout trying to describe the word she coined for it. The record may not be as loose as her 2022 mixtape CAPRISONGS, but certainly retains some of its clubby exuberance, as well as the spell-binding eroticism of LP1, in mapping that slippery state of being. That it’s a place worth exploring goes without saying. Read the full track-by-track review.


Kathryn Mohr, Waiting Room

Though Kathryn Mohr‘s music remains insular in nature, every record she’s made since 2021’s As If has required some sort of separation from home: she laid down her 2022 EP, Holly, produced by Midwife’s Madeline Johnston, in rural Mexico, whose desert environment had a palpable influence on the music. Her latest effort and debut full-length, Waiting Room, was not only self-recorded but also conceived over the course of a month in eastern Iceland, as Mohr wove together songs in a windowless concrete room of a disused fish factory. The effect of the place is captured visually on the album cover and sonically through Mohr’s use of field recordings and imagistic writing, but the record only burrows further inward, at once liminal and confrontational, embodied and otherworldly. From the grungy, nightmarish exorcism of ‘Elevator’ to the ambient romance of the title track, it stirs the horror and tenderness out of big, empty spaces, be they physical or emotional. Read our Artist Spotlight interview with Kathryn Mohr.


MIKE, Showbiz!

The music MIKE instantly feels like an intimate dialogue, and Showbiz! is no exception. Between his richly lackadaisical delivery and hypnagogic use of samples, the looseness and fluidity of the New York rapper-producer’s approach keep the listener engaged but never more than arm’s length away. Yet what remains beyond grasp for MIKE, always at an odd distance, is the perfect sense of home, something he keeps searching for across the LP – though “home” is where he recorded all of it, in phases after stretches of touring. Similarly, he muses on the idea of breakout success more than simply lounging on it. “The prize isn’t much, but the price is abundant,” he raps on ‘Artist of the Century’, an apt summation of the whole project.


Mac Miller, Balloonerism

Five years have gone by since the release of Mac Miller’s Circles, a profoundly gorgeous and hopeful record that’s become an example of how posthumous releases should be handled. It would be hard for the late Pittsburgh rapper’s second posthumous album to achieve the same reputation, and yet, far from a thoughtless cash grab, Balloonerism presents a collection of material – chunks of which fans have, one way or another, already been familiar with – in a careful and illuminating manner. Recorded between 2013 and 2014, during the same burst of creativity that produced Watching Movies With the Sound OffFaces, and GO:OD AM, it dives into his struggles with mental health and substance abuse while also delighting in his versatile and spontaneous approach. Having made the leap from easygoing to darkly experimental hip-hop jams, where his career would go next was just one of the things in Miller’s mind. Balloonerism doesn’t just capture a moment in time but makes sure it doesn’t just float by, disorienting as it may be. Read the full track-by-track review.


jasmine.4.t., You Are the Morning

During the pandemic, facing complications from myalgic encephalomyelitis and long COVID, Jasmine Cruickshank underwent heart surgery and was bed-bound for almost half a year. It was then that she decided to come out as trans, end her abusive marriage, and escape to Manchester, where she found – and was able to write through – her queer community. Backed by an all-trans band, jasmine.4.t. became the first UK signee to Phoebe Bridgers’ label Saddest Factory Records, and Bridgers, Dacus, and their boygenius bandmate Julien Baker all produced her remarkable debut full-length, You Are the Morning. Treading the line between intricate, tender-hearted folk and stormy indie rock, the album swoons with the rush of new love, spins catharsis out of the wildest lows, and reimagines the past into a light-filled future. It’s in the throes of hope and change, Cruickshank reminds us, that we see each other best. Read our Artist Spotlight interview with jasmine.4.t.


lots of hands, into a pretty room

Since coming together in 2020, Billy Woodhouse and Elliot Dryden have been working on music remotely, weaving together ambient instrumentation and tender, lo-fi folk through 2021’s there’s someone in this room just like you and 2023’s fantasy. into a pretty room, their new album and debut for Fire Talk, is billed as lots of hands‘ first truly collaborative effort, with Dryden commuting through the northern English countryside to write and record in Woodhouse’s bedroom studio. Growth is an undercurrent more than the obvious throughline, as Woodhouse and Dryden spin old demos, new songs, and twinkling, glitched-out electronics into a record of almost ineffably hushed vulnerability and understated, muffled beauty. With Woodhouse producing and properly mixing the record, there’s a different kind of attention paid to the subtleties and cohesiveness of their songwriting, even as each moment it depicts seems to flit by like a whisper, or linger like a ghost – or both. Read our Artist Spotlight interview with lots of hands.


The Weather Station, Humanhood

The Weather Station’s work has earned praised for its seamless elegance and fluidity, especially since Tamara Lindeman expanded the project’s folksy origins on 2021’s breakout Ignorance. But never has the Toronto-based singer-songwriter paid attention to the seams – the parts of life and art that, as she acknowledges on the closer ‘Sewing’, most people are willing to ignore – as she does on her visceral new album, Humanhood. Affording space to both the sophistipop grandeur of Ignorance and the free-flowing intimacy of its companion LP, 2022’s How Is It That I Should Look at the Stars, Lindeman and her remarkable band trace the process of dissociation, laying out the broken pieces and the possibility of reintegrating them, the shakiness of truth and all the purpose it provides. Humanhood keeps moving like that, imperfect but enlightened, the music an “undulating thing,” as Lindeman puts it, “this blanket I seem to be making from pride and shame, beauty and guilt.” Read the full track-by-track review.

The Most and Least Surprising Moments From the 2025 Grammys

It’s rare that Music’s Biggest Night™ lives up to that title, but the 67th Grammys came close. Clocking in at nearly four hours, the main telecast, which was broadcast from Los Angeles’ Crypto.com arena, adjusted its tone – earnest, somber, celebratory – as it centered on LA culture and wildfire relief, raising $7 million in donations by 11:30 pm ET. (At one point, host Trevor Noah joked about charging winners $1,000 per minute for going over 90 seconds in their speeches, the only one of his jokes that actually made me laugh.) And while there were moments that were trite and predictable rather than inspiring, last night’s event definitely had its fair share of surprises, some more significant than others. Here are some of the most and least surprising moments from the 2025 Grammys.

Most Surprising: The Weeknd Ends Grammys Boycott

The Weeknd quietly ending his boycott of the Grammys would have been one thing. But Abel Tesfaye’s performance at night’s awards, by far the biggest surprise of the ceremony, felt awkward both conceptually and in execution. It came off as gratingly righteous and performative on both sides: the Weeknd had just released his new album, Hurry Up Tomorrow, and his change of heart conspicuously aligned with the album’s extended promotional campaign. It didn’t help that the dark tone of the performance terribly juxtaposed Recording Academy president Harvey Mason Jr.’s earnest speech, which boasted about their diversity initiatives over actual screenshots of headlines from the Weeknd controversy. The Recording Academy may have set on a trajectory of righting its wrongs, but this was the show’s one truly tone-deaf moment, and I doubt that any of the Weeknd’s new singles have enough staying power to triumph at next year’s awards, even as a corrective. But hey, at least the spot for superstar Grammys boycotter is now Drake’s for the taking.

Least Surprising: Chappell Roan’s Best New Artist Win and Triumphant Performance

If there was one lock for the night, it was Chappell Roan walking away with Best New Artist. (Though the momentum Doechii was gathering through the night had me thinking she might pull off an upset.) But Roan’s rightfully triumphant night didn’t end there: her spectacular, playful, and confident performance of ‘Pink Pony Club’, featuring a literal larger-than-life pink pony, was the moment where the show’s running theme of resilience and unity around music felt the most potent. Plus, during a night that doubled as a fundraiser for those impacted by the LA wildfires yet weirdly shied away from meaningful political statements (and in fact featured a tasteless joke from Trevor Noah about illegal immigrants), Roan came prepared with a powerful acceptance speech. Referencing her own experience of being mistreated by her former record label, she advocated for the music industry to offer a livable wage and healthcare, especially to emerging artists. Noah was all out on jokes after that: “I don’t know what to say,” he said awkwardly, “That was beautiful.”

Most and Least Surprising: Beyoncé Finally Wins Album of the Year

It’s rare that every talking point around an awards show coalesces around a single headline, but this was the case at the 2025 Grammys: Beyoncé finally won Album of the Year, an award she has been nominated for five times over the past 15 years – though it’s hard to argue Cowboy Carter is better than any of the previous albums. “It’s been many years,” she said when she got to the podium, dedicating the award to country pioneer Linda Martell. To say that it’s long overdue would be a gross understatement, but no one would be surprised if she was snubbed again, something that was looking less likely the more categories Taylor Swift and Billie Eilish were being shut out of. Funnily enough, Beyoncé was more (visibly) shocked by her winning Best Country Album, an award handed out to her by Swift earlier in the evening.

Most Surprising: Taylor Swift and Billie Eilish Walk Away Empty-Handed

Who would’ve guessed that the Recording Academy’s corrective streak would mean two of their favorites getting zero awards? (Eilish and Finneas’ rendition of ‘Birds of a Feather’ was genuinely moving, and that sleeper hit not getting Song of the Year was the biggest surprise for me.) With both stars’ reactions being filmed at every opportunity, of course, they still felt like a big part of the show, and they seemed to be having plenty of fun. No harm done there.

Least Surprising: St. Vincent Sweeps Alternative Music Categories

The Recording Academy loves St. Vincent, and though I preferred almost every entry she was nominated against this year (Cage the Elephant being the one exception), I wasn’t surprised she took home the awards for both Best Alternative Music Album and Best Alternative Music Performance, plus Best Rock Song. Annie Cark did, however, surprise fans by revealing she was married and had welcomed a child.

Most Surprising: Kendrick Lamar Sweeps Record and Song Categories

When Kendrick Lamar’s ‘Not Like Us’ won Best Rap Performance, Best Rap Song, and Best Music Video at the Premiere Ceremony, I thought it would end there. It seemed like a move that would satisfy the Recording Academy just enough to not recognize a lawsuit-spawning, industry-shaking diss track at the main show, even if it would have been another “long overdue” moment. Lamar sweeping the biggest song categories was certainly that, but it also seemed to align with the show’s theme of celebrating LA culture, an aspect of the track that by now seems to overshadow the beef it sprang from. (In his speech, Lamar called it “a testament to the fact that we gon’ continue to restore the city.”) The crowd still yelled the “A MINOR” lyric, of course, so maybe there’s more to it.

A Little Surprising: Doechii Captures Best Rap Album and Delivers Show-Stealing Performance

Doechii may not have won Best New Artist last night, but she absolutely solidified her breakthrough moment by picking up Best Rap Album for Alligator Bites Never Heal, especially since it was competing against some much safer picks. Doechii had apparently already recorded a new song celebrating her win, though, so maybe she wasn’t so surprised. Her presence throughout the show was just as confident and affirming, making sure that anyone who wasn’t already excited about her couldn’t help but start paying attention.

Least Surprising: The Beatles and the Rolling Stones Are 2025 Grammy Winners

Tying for Best New Artist.

Most Surprising: ‘We Are the World’ Singalong During Quincy Jones Tribute

Last night’s tribute to 28-time Grammy-winning producer Quincy Jones was unsurprisingly star-studded, tasteful, and long, featuring Cynthia Erivo, Janelle Monaé, Lainey Wilson, Stevie Wonder, Herbie Hancock, and Jacob Collier performing a medley of hits. I’m not sure I expected ‘We Are the World’ or that it warranted inclusion, though.

Surprise Rave: Charli XCX

Charli XCX did win her first Grammys last night – three, in fact: Best Dance Pop Recording, Best Dance/Electronic Album, and Best Recording Package. By the time she was about to take the stage – despite Brat still being in the running for AOTY – it looked like these were going to be the only ones, and she’d already posted about them on social media. In the pre-recorded introduction to her performance, she even acknowledged that Brat is a little too messy for the Grammys, but that didn’t stop her from properly bringing its rowdy energy to the stage. Beginning with a rendition of ‘360’ in a parking garage outside the Crypto.com Arena, Charli then made her way to the main stage, bringing along friends and cultural figures including Julia Fox, the Dare, Richie Shazam, Niki Takesh, and many, many scantily clad dancers drenched in underwear. Thankfully, Kanye West and his nude wife were nowhere to be seen by then, though I’m surprised Eilish didn’t join her for ‘Guess’. (She could still be seen mouthing the words.) It may not have gotten the top prize, but it was no doubt a big night for Brat.

Surprise Backflip: Benson Boone

Just kidding: look it up, it’s a thing.

Surprise Tap-Dancing: Sabrina Carpenter

Sabrina Carpenter, who won Best Pop Vocal Album for Short n’ Sweet, had no trouble bringing her comedic charm onstage, appearing in a glittery tux and tap-dancing her way through a delightfully jazzy medley ‘Espresso’ and ‘Please Please Please’.

Most Surprising Presenter: The LA Fire Department

The 67th annual Grammy Awards opened with a surprisingly earnest rendition of Randy Newman’s ‘I Love L.A.’ by Dawes, which, with some lyrical changes and a backing band that included John Legend, Sheryl Crow, Brittany Howard, Brad Paisley, and St. Vincent, landed pretty well. The performance was set to footage paying tribute to Los Angeles firefighters, who actually took the stage to present the most coveted award of the night. “I am confident that we will recover and rebuild together, because we are LA. Strong,” fire chief Anthony Marrone said. In a show where presenters included Diana Ross, Anthony Kiedis and Chad Smith of the Red Hot Chili Peppers, Taylor Swift, Gloria Estefan, Queen Latifah, and more, it meant something that members of the L.A. Fire Department got the longest standing ovation.

The Best Casino Movies of the 21st Century

The captivating world of casinos has provided a rich setting for some of the most memorable films of the 21st century. These movies dive into themes of risk, ambition, and human relationships, brought to life by exceptional storytelling and direction. Each film on this list shows the diversity and complexity of the casino genre, creating narratives that have become essential pieces of contemporary cinema.

Casino Royale (2006)

Directed by Martin Campbell, Casino Royale revitalized the James Bond franchise by introducing Daniel Craig as a more grounded and intense 007. The story centers on Bond’s mission to defeat Le Chiffre, a criminal financier, in a high-stakes poker game at Montenegro’s Casino Royale. The film’s poker scenes are meticulously crafted, blending psychological tension with cinematic elegance.

Campbell’s direction emphasizes realism and vulnerability, making Bond’s triumphs and setbacks feel personal. The visual storytelling and Craig’s nuanced performance elevate this film into the upper echelons of the casino genre. Often listed as a top contender in rankings of the top 10 casino movies of all time, Casino Royale is an undeniable masterpiece that intertwines action, strategy, and emotional depth seamlessly.

Ocean’s Eleven (2001)

Steven Soderbergh’s Ocean’s Eleven is a heist movie that exemplifies style and substance. George Clooney leads the cast as Danny Ocean, a charismatic conman assembling a team of specialists to rob three Las Vegas casinos in a single night. The film has an all-star cast, including Brad Pitt, Matt Damon, and Julia Roberts.

Soderbergh’s direction strikes a perfect balance between suspense and humor, with a tightly woven script that keeps audiences engaged. The film’s sleek visuals and vibrant pacing perfectly capture the allure of the casino world. With its innovative plot and magnetic ensemble, Ocean’s Eleven has become a definitive example of the heist subgenre.

The Cooler (2003)

Wayne Kramer’s The Cooler offers a deeply emotional perspective on the casino genre, centering on Bernie Lootz, portrayed by William H. Macy, whose natural misfortune brings bad luck to those around him. Bernie’s circumstances shift dramatically when he falls for a cocktail waitress, played by Maria Bello, pushing him to reconsider his place in the casino world.

Kramer’s direction uses subtle visual cues, such as changes in lighting and wardrobe, to reflect Bernie’s emotional journey. The film’s unique premise and compelling character arcs set it apart from typical casino narratives. With its blend of drama and romance, The Cooler offers a refreshing perspective on life within the casino world.

Molly’s Game (2017)

Aaron Sorkin’s Molly’s Game presents a compelling portrayal of Molly Bloom, a former Olympic skier who transitions into running exclusive high-stakes poker games. Jessica Chastain shines in the role, portraying Molly’s sharp intellect and unwavering determination as she navigates the complexities of her unique profession.

Sorkin’s signature sharp dialogue and meticulous direction bring depth to the narrative, which delves into the challenges Molly faces with the law and her determination to rebuild her life. The film’s focus on poker as a skill-based game, combined with its strong character study, makes it a standout entry in the casino genre.

21 (2008)

Directed by Robert Luketic, 21 explores the true story of MIT students who master the art of card counting to win big in blackjack. The film follows Ben Campbell, played by Jim Sturgess, as he is recruited by an enigmatic professor, portrayed by Kevin Spacey, to join an elite team.

The group’s rise to success is matched by increasing tension as they face personal and external challenges. Luketic’s sharp direction captures the exhilaration of the casino floor and the psychological stakes of the characters. 21 is a compelling narrative that highlights the fine line between skill and risk in gambling, making it a fascinating addition to the genre.