Liam Gallagher has released ‘C’MON YOU KNOW’, the title track to his forthcoming third solo album. Give it a listen below.
C’mon You Know is scheduled for release on May 27 via Warner Records. Gallagher previously shared the album’s lead single ‘Everything’s Electric’, which he performed on The Tonight Show Starring Jimmy Fallon.
Arooj Aftab has shared a cover of Rosalía’s ‘Di Mi Nombre (Cap.8: Éxtasis)’ for the Spotify Singles series, which is currently celebrating the Best New Artist category at the 2022 Grammys. The Grammy nominee also performed a new rendition of her own ‘Baghon Main’ for the installment. Take a listen below.
“I’ve always felt a very strong kinship to flamenco music, and recently having visited the south of Spain, even more undeniably so,” Aftab said in a statement. “It’s always been in my periphery to make something with that energy. The driving rawness of the palmas, the haunted vocals. Very much my vibe. The opportunity to cover a previous Best New Artist pointed me directly to Rosalía. And while it was a very ambitious choice, I had a great time versioning this song!”
Arooj Aftab is nominated for Best New Artist and Best Global Music Performance (for ‘Mohabbat’) at the 64th Grammy Awards. In the past few days, Spotify has collaborated with Best New Artist nominees Arlo Parks, FINNEAS, Japanese Breakfast, and Jimmie Allen on exclusive recordings.
Earlier this year, Aftab shared the previously unreleased track ‘Udhero Na’ from the deluxe edition of her 2021 album Vulture Prince, which is out June 24. Read our Artist Spotlight interview with Arooj Aftab.
Mick Jagger has shared a new song called ‘Strange Game’, The track, which the Rolling Stones frontman co-wrote with composer Daniel Pemberton, serves as the theme song for the new AppleTV+ series Slow Horses. Check it out below.
“Working with Mick Jagger has been one of the most exciting collaborations of my professional career,” Pemberton said in a statement. “I think we have managed to create an incredibly unique and original titles theme and I cannot wait for the rest of the world to hear it.”
Slow Horses stars Gary Oldman, Kristen Scott Thomas, Jonathan Pryce, Olivia Cook, and Jack Lowden. Director James Hawes commented: “We always wanted a song to set the tone for the show and there was only ever one name in my mind — Mick Jagger. Hearing the track for the first time was utterly thrilling. Mick’s lyrics and performance have totally nailed the mood of Slow Horses, with all the humor and swagger I dreamed of.”
Harry Styles has shared ‘As It Was’, the first single from his upcoming third solo album Harry’s House. The track comes paired with a music video directed by Ukrainian filmmaker Tanu Muino. Watch and listen below.
“Directing a Harry Styles video was a bucket list dream come true for me as he’s my favorite performer,” Muino said of the clip in a press statement. “Shooting him was bittersweet as it was one of the happiest days of my life, but on the second day of the shoot, my country Ukraine was invaded so you can imagine the insane emotions we had while shooting. Me and my team from Ukraine poured so much love into this video and you can see it on screen. It will be a music video I will never forget and now I can happily retire.”
Harry Styles announced Harry’s House in March, revealing the record’s title track. The follow-up to 2019’s Fine Line is out May 20 via Columbia.
You don’t connect with Destroyer songs so much as you’re inexplicably drawn to them. Whether you’re a longtime fan or have just discovered Dan Bejar’s music, you’ve probably already given up on relating to his writing, and the title of his thirteenth album, Labyrinthitis, certainly doesn’t help – a word that’s so weird it surely has to be made up, which isn’t the kind of thing that tends to make a songwriter more approachable. It does make more sense when you find out it’s actually a term for an inner ear disorder that Bejar may or may not have, not only because the album is best described as “dizzying” but because it dwells in this state of disorientation – like when you find yourself scouring the internet for an explanation to a medical issue and end up completely lost in the abyss. This is closer to what the title came to mean for Bejar, who told Uproxx it might allude to someone “who’s addicted to mazes, or someone who chronically takes the wrong turn.”
Starting down one path and then going in a few different directions is an apt metaphor for Labyrinthitis, which Bejar and his frequent collaborator John Collins began working on during lockdown in 2020 with the intention of making a straightforward techno album. Traces of that original vision, however sincere it may have been, are still present on the album; but this being Destroyer, there’s something slightly off-kilter and elusive about even the smoothest cuts here, as if they’ve been fractured and fragmented through obsessive tinkering. In the grander scheme of Destroyer’s catalog, it fits right in with 2017’s Ken and 2020’s Have We Met as the final in a trilogy of albums that have generally leaned more towards pop. But it’s a testament to Bejar’s uniquely eccentric voice as an artist that he can make his most accessible record to date and still sound profoundly strange, at once hopeful and haunted.
The songs on Labyrinthitis can mostly be described as sort of or anti-something, which isn’t really solid ground for a cohesive, engaging listen. But that’s not to say the album is a misstep. It keeps finding ways to pull you in – whether it’s by serving lush, elegant grooves (‘It Takes a Thief’, ‘All My Pretty Dresses’) or contemplative atmospheres to sink into, like on the instrumental title track. A lot of the songs can be categorized as danceable, but they don’t exactly make you want to get up and dance; it’s what you’d play at a party that’s already nearing its end, when dancing seems like an impossibility and forming coherent sentences is even harder, but you can still kind of have fun. There are still parts that stand out, even if you’re not used to Bejar’s theatrics; listening to the album for the first time, a friend was struck by the “Ruff ruff goes the beagle to the terrier” line on ‘Eat the Wine, Drink the Bread’, while another likened the immaculately fuzzed-out guitar sound on ‘It’s In Your Heart Now’ to a whale. (There’s your pitch: Destroyer, more animal songs.)
What’s captivating about Labyrinthitis is not its overarching theme (there really isn’t one) or sonic palette (it’s all over the place), but just how many surprises Bejar and his collaborators manage to throw into the mix, whether consciously or subconsciously. As someone who’s fairly familiar with Destroyer’s prior work, I was shocked by just how many bizarre turns it takes – but they never felt wrong. For one thing, Bejar has such an incredible ear for melody that he often seems to be stumbling upon a hook. There’s a lot to say about ‘June’ that’s probably better left unsaid, but it’s not such a coincidence that one of the album’s longest and most absurd songs is also its catchiest, as Bejar turns a reference to the Fall (“Everyone’s happy to strike for more pay”) into a line that is, in his words, “potentially academic, which means it is potentially despicable,” but is nevertheless one of the most memorable refrains of the year so far.
Of course, just because an album has some noteworthy, incomprehensible moments doesn’t make it a great one. But there’s something genuinely exciting about Bejar’s commitment to trying new ideas, the way he’s been consistently changing up his sound while retaining a distinct musical identity – yet never really revealing too much about himself. What draws me to Labyrinthitis is just how unfiltered, even personal it is. Despite everything I’ve talked about, there is still an arc to the album that, as vague as it is, is also quite moving. Bejar has referred to the main character of the album as “the singer,” and he further removes himself by portraying him as a kind of cartoonish villain. But whoever he is, you can’t help but resonate with a guy who turns to the music of his youth yet doesn’t derive much comfort from it, who’s past the point of censoring his art but still clearly cares. Even if the middle section is quite abstract, the album begins with the sweeping emotionality of ‘It’s in My Heart Now’ and comes back around with the penultimate track, ‘The States’, where Bejar addresses a younger version of himself, stuck at some bus stop in the middle of nowhere. That person might seem distant, but his deep, obsessive heart stretches all throughout Labyrinthitis.
Transcription services are useful additions to any business that can facilitate its operation and even the growth a number of times. They are effective from the perspective of time and related costs. Do you want to make sure of that?
Let’s review two simple examples from the earlier start, from our practical experience, of course. Transcriberry transcription service enables complete work that can take a day, if performed by a human, for a couple of hours. And the employees of our contractors can arrange other important activities for their companies meanwhile. Sounds good, isn’t it? Another example deals with costs. It is at least twice less expensive to use speech-to-text software rather than to assign this transcription task to an employee or outer specialist.
Are you from the gaming industry? Then you know how important it is to save time and energy for more interesting things. And here is how transcription services may help you with that. Choose the service that ensures these aspects we will shortlist below.
Have you ever experienced a situation when during the negotiations and conversations, some amazing idea, let’s say about your new game, was lost? You remember that you have disused it among dozens of others but can’t remember the details of such. This problem can be solved easily thanks to transcription services. You need only record conversations and send that for arranging audio to text transcription.
These services may help you with getting any important information about your negotiations, communication with partners and employees, and any other business-related matter that may be lost in the routine. Sounds good, isn’t it? Do you want to know more about how this works?
The pass from the recorded material to the ready text usually covers a couple of steps:
Local specialists arrange that process and control the operation of the software to make all transcriptions are done well. While ordering and getting those services to which aspects should you pay attention to?
Any good transcription website offers to its customers at least these basic things that we call must-have options for arranging transcription services well:
That is a key aspect that has to be ensured thanks to the up-to-date software and qualified transcriptionists. The highest quality services are impossible without these things. Used software has to contain modern and sensitive algorithms for recognizing all nuances of speeches. Transcriptionists should have sufficient language proficiency and excellent listening skills. These aspects, in conjunction, can guarantee the quality of the final service.
What aspect is the most crucial in terms of quality? That is accuracy. Always check the level of accuracy that the service provides to you. It should be at least 99%.
While choosing your transcription service, emphasize the working hours of that service, its location, and time zone. The main purpose of transcription service is to facilitate doing your business and not to make you wait while the services will be rendered by specialists from the other corner of the world. That is why location matters. And it also matters in view of the greater number of native speakers in a country where your target service is located. Additionally to these aspects, we always suggest choosing services where you can submit your request for transcribing audio to text or video to text at any time this may be required for your gaming business.
This aspect matters a lot, and it is difficult to argue with that. Good transcription services have to ensure all measures sufficient for preventing any data leaks or possible disclosures. Its employees should sign non-disclosure agreements. All used tools and software have to be secured. For this purpose, encryption should be applied at least. Also, the service should operate with the operators of financial services that apply at least the same or even more advanced measures. Check those aspects by reviewing the policies of your considered service providers.
You should get all types of transcription services in one place only. That is important to save your time and establish relations with contractors. People to whom you send materials more than once will be aware of your business’s relevant terminology and other peculiarities.
These are basic types of transcription services that should be available to you:
While passing to the final choice, we suggest you consider the quality of services and rates for those. If you have shortlisted two or three options for your gaming business, choose one with the most convenient rates for those. A variety of factors may impact the final prices that service charges, like these ones:
Our experience shows that it is always possible to find a balance between key parameters of any transcription work and deliver quality outcomes to customers. We will be glad to render such kinds of services to you to release from any routine and enable you to rearrange your time in the direction of creativity in gaming.
Totally Enormous Extinct Dinosaurs, the moniker of British dance producer Orlando Higginbottom, has announced a new album called Where the Lights Go. The record has no release date yet, but its first single ‘Blood in the Snow’ is out now via his own label imprint Nice Age. “This song is about melting glaciers and wanting a daughter, where to put love in this tailspin,” Higginbottom said in a statement. Check it out below.
Where the Lights Go, the follow-up to Totally Enormous Extinct Dinosaurs’ 2012 debut Trouble, was recorded primarily in Higginbottom’s studio in Los Angeles. The producer is up for a Grammy this year; his collaboration with Bonobo, ‘Heartbreak’, is nominated for Best Dance/Electronic Recording.
Lyle Lovett has announced his first new album in ten years: 12th of June is due for release on May 13 via Verve Records. The record, which features a mix of originals and standards, was co-produced by Lovett and Chuck Ainlay. Today, the country and folk veteran has released the album’s title track, alongside an accompanying video. Check it out and find the LP’s cover art and tracklist below.
12th of June Cover Artwork:
12th of June Tracklist:
1.Cookin At the Continental
2. Pants Is Overrated
3. Straighten Up And Fly Right
4. Gee Baby Ain’t I Good To You
5. Peel Me A Grape
6. Her Loving Man
7. 12th of June
8. Pig Meat Man
9. The Mocking Ones
10. Are We Dancing
11. On A Winters Morning
Toro y Moi has unveiled a new single called ‘Déjà Vu’, which is taken from his forthcoming LP MAHAL. The track arrives with an accompanying video directed by Justin Morris. “I hope you enjoy this small slice of American pie that I have prepared for you,” Chaz Bear said of the visual in a statement. Check it out below.
MAHAL is set for release on April 29 via Dead Oceans. ‘Déjà Vu’ follows the previously shared singles ‘The Loop’ and ‘Postman’.
Rosie Carney has announced her second album, i wanna feel happy. It comes out May 27 via Color Study. Today, the London-based singer-songwriter has shared a new single called ‘dad’, alongside a video featuring Outlander star John Bell. Watch and listen below.
“I wanted to create the narrative of a young person journeying back to their authentic self after being trapped and lost within this loud world,” Carney said of ‘dad’ in a statement. “It was emotional watching John relate to this and bring it to life. He choreographed the dance sequence himself and there wasn’t an ounce of his mind and spirit that he held back. It’s become a real testimony to our friendship.”
i wanna feel happy follows Carney’s 2019 debut Bare as well as her full-length cover of Radiohead’s The Bends, which was released in 2020. “Once I started playing around with The Bends songs, I realised I was pretty capable of taking my music in whichever direction I wanted to,” Carney explained. “I’ve always been a fan of shoegaze, lofi, indie and classic rock music, I just didn’t think it was possible to combine those sounds with my own music. Besides Radiohead I listened to a lot of Big Thief, FKA Twigs, Foglake, Slow Dive, David Bowie to name a few while I was making my demos for this album.”
Revisit our Artist Spotlight interview with Rosie Carney.
i wanna feel happy Cover Artwork:
i wanna feel happy Tracklist:
1. i hate sundays
2. break the ground
3. dad
4. chihiro
5. ceiling
6. tidal wave
7. sugar
8. time waits for no waiting room
9. send me home
10. i wanna feel happy
11. blame it on the sun
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