Lana Del Rey was the musical guest on last night’s episode of The Late Show with Stephen Colbert, where she performed ‘Arcadia’ from her brand new album Blue Banisters. Check it out below.
In addition to ‘Arcadia’, Blue Banisters includes the previously released singles ‘Text Book’, ‘Wildflower Wildfire’, and the title track. It marks her eight studio album and second of 2021, following March’s Chemtrails Over the Country Club.
Matty Healy was the surprise opening act at Phoebe Bridgers‘ sold-out hometown show at LA’s Greek Theatre last night (October 22). According to Coup de Main, the 1975 frontman’s acoustic set included two unreleased songs, one of which he introduced as ‘New York’. Bridgers also joined Healy for the first-ever joint live rendition of their Notes on a Conditional Form duet ‘Jesus Christ 2005 God Bless America’, which she had tweeted out earlier in the day after telling fans to “come early tonight.” Watch clips from the performance below.
another random part sorey i cant listen to the clips pic.twitter.com/DfGHBf4G9v
— cam 🪐 (@corduroykoury) October 23, 2021
You guys… Matty from the 1975 just played TWO UNRELEASED SONGS OPENING FOR PHOEBE BRIDGERS AND IM NOT OKAY..
Here’s a NEW song called NEW YORK ❤️ pic.twitter.com/2Gwvz3nkTD
— Kate Cordova (@KateCordova) October 23, 2021
Meg Duffy doesn’t reveal much about the song. It’s the first thing we hear about on Fun House, and whether or not it’s the same one, we hear about it again: first it’s “the song,” then “your,” then “a.” It is, quite naturally, a thing of the past: the thing Duffy attempts to dig into on their third album under the Hand Habits moniker. In press materials, the singer-songwriter compares the act of performing to casting a spell, and what’s so enchanting about the best songs is how they sometimes have a way of not only conjuring memories, but also giving them a better home. In another meta moment, on ‘False Start’, Duffy seems to be referring explicitly to one of their own songs, confronting a careless listener as they sing, “You missed the best part.” This time, it’s more the you that’s hard to grasp: The song feels both abstract and palpably real.
Duffy ensures no one misses the best parts of Fun House by making it their most fully-formed, expansive, and rewarding effort yet. One of its greatest gifts is that it doesn’t go big just for the sake of it: the shift in sound is a natural result of the dynamic Duffy cultivated with the producer Sasami, who was working on engineer Kyle Thomas’s King Tuff album when Duffy moved in with them. Duffy credits Sasami’s vision for pushing them to overcome musical boundaries and find new ways of expressing emotional truths that, as was the case with many of us, had resurfaced during the pandemic. “I think I started getting really angry,” Duffy told The FADER. “And I couldn’t really understand where that anger was coming from.” While previous Hand Habit albums, particularly the spare folk of 2019’s placeholder, seemed inclined to blanket that sense of anguish and unease, here those feelings have the space to unravel and take different shapes, becoming a propulsive force on ‘More Than Love’ and eventually boiling over on ‘Gold/Rust’.
These might be, depending on what you gravitate to, the best moments on record, but the true magic of Fun House is in rich detail Duffy and their collaborators have weaved into the songs. On the gorgeous single ‘Aquamarine’, Sasami’s pulsing synthesizers fill in the space around a voice that can’t quite speak of trauma, but whose words point to its lingering effect: “Why can’t you talk about it?/ I got used to being on the other side of the truth.” The song is about turning over a box of items that belonged to their late mother, but Duffy revisits these memories not as a means of documenting pain, or even attempting to heal it, but as vital step in the process self-care. When they whisper through flickers of the past on ‘Just to Hear You’, it’s all internal and almost inaudible, covered in ripples of guitar and synth that have a nourishing shine to them. It’s clear Duffy is approaching these experiences not through a wary distance but with a calm fortitude, a perspective that allows for movement and discovery without drowning out the songs’ emotional intensity.
It also amplifies the qualities that marked Hand Habits’ music in the past – its remarkable patience and tender beauty – making Fun House sound less like a departure than a homecoming. It’s why, while the focus in the studio might have been on challenging some of Duffy’s musical proclivities, everyone involved in the project seems more concerned with how to best accommodate them. Sasami’s hand in the production is certainly felt throughout the album, but her backing vocals on tracks like ‘Concrete & Feathers’ also provide a gentle backdrop for Duffy’s impassioned performance. On ‘No Difference’, it’s the incredible cast of guest vocalists – including Mike Hadreas aka Perfume Genius, Big Thief’s James Krivchenia, Christian Lee Hutson, and Griffin Goldsmith – that elevate the song as they embody the conflict at the core of it. Hadreas, whose 2020 LP Set My Heart on Fire Immediately shares a spiritual connection with Fun House, also sings on ‘Just to Hear You’, lending it a sense of comforting familiarity.
The added layers never feel superfluous or overly literal, but are instead subtly and evocatively implemented, like the strings, courtesy of Elizabeth Baba, that glide and hurtle through ‘The Answer’. The use of drums in particular is one of the album’s strong suits, not least because of how they vary throughout, from Joo-Joo Ashworth’s liquid percussion on the opening set of songs, to Goldsmith’s swirling drums on ‘Gold/Rust’, or the crisp, organic pace Krivchenia keeps on ‘Concrete & Feathers’. The drums Sasami lays out on ‘The Answer’, meanwhile, sound more like a heartbeat than an instrument, accentuating the intimacy of the track.
As an in-demand session musician, Duffy’s most memorable contributions include the slide guitar on the War on Drugs’ ‘Holding On’ and the haunting solo on Weyes Blood’s ‘Seven Words’. Their virtuosity stands out on several songs here, the guitar serving as a kind of guiding presence in their journey – the sweeping solo on ‘More Than Love’ lifts the whole record up in its first few minutes, while the acoustic guitars on closer ‘Control’ ground its self-affirmations in a lush, reassuring backdrop. “I can change, I can change, I can change,” Duffy sings, “But it’s all behind me now.” It’s a strikingly direct sentiment for a record that hangs in the spaces between past and present, truth and metaphor, you and I – one that prefers to evoke rather than address things, the way a song does a memory, or the other way around, again and again till all meaning is lost. But it also knows that sometimes, to stop yourself from rewinding the tape, the trick you have to pull off is just spelling it out.
Sustainability has been a pivotal topic of Mercedes-Benz Fashion Week Russia. This year, MBFW Russia has become the place to drop in unwanted clothes that upcycling designers will use for their upcoming collections. This initiative has marked another great year of progress for the fashion week that profoundly celebrates sustainable fashion.
This project will go beyond this season of fashion week. Russian Fashion Council, EcoLine Group, and Vtoroe Dykhanie Fund will collect unwanted clothes every season, further passing them on to upcycling Russian brands, who will use them in their catwalk presentations.
Anyone can take part in this green initiative. You simply have to visit the Museum of Moscow from 14:00 to 21:00 and turn the clothes in at a special reception point in the Museum’s courtyard. No invitation is needed to do that — everyone is welcome the reception point. Participants will have a chance of getting invitations to sustainable brand shows during #MBFWRussia for this and next season, and the most active ones will obtain bags made of upcycled banners and upcycled shirts from Fashion Week. The clothes that won’t be included in designer collections will be given to Vtoroe Dykhanie.
You only have to ride on the underground in London or any major city in the world to gain a quick understanding of where we are right now in terms of socialising. Step onto the carriage of a tube train or into an elevator and chances are most people will be looking down, either at a mobile phone, tablet, newspaper, or book.
Reading material has been around for a long time and people have often picked up a newspaper on their way to work. Using the time to catch up on the latest news when you have nothing else to do is a good idea but in the modern world, people are looking at their phones, with social media being one of the attractions.
When it comes to speaking to strangers in public, things have always been awkward in some respect. You do not want to be the first person to break the silence or make a comment that the other people think is stupid. However, there is something at play from our childhood and most of us who have been fortunate enough to have a good family upbringing have been taught not to speak to strangers. That could be something to do with the modern world as we see the harm human beings are capable of producing to members of their own race on the news on a daily basis. People are more protective of their children than ever before and do not want them to be talking to strangers on public transport or in the street.
That being said, the introduction of smart phones has to be the overriding reason we are becoming less social in modern times. You can see a group of friends sat together on a bus and instead of talking to each other, they are busy looking at their phones or listening to music. Mobile phones have become the complete entertainment package, with games, music, books, and social media all available on the small device.
Some will argue we are not becoming less social; we are simply changing the way we socialise and that could be true. If you are engaging with someone on Facebook or Twitter, you are interacting with them but in a virtual world rather than the real world. It is now possible to play games on your phone that have social elements, with online casino games being a good example. Mobileuscasinos.com highlights some of the best online casinos available today and many of them are home to live casinos. You can play casino games, on your mobile phone and interact with the dealer, which is a form of socialising.
Perhaps, following the lockdown and closure of society as we know it over the past two years, people will begin to interact more in real life. A simple ‘hello’ as we pass another person in the street may seem like nothing but it is better than going by with your head down looking at your phone.
Béatrice Dalle stars in the YSL Fall 21 campaign and is once again reminiscent of her infamous character in Jean-Jacques Beineix’ 1986 cult classic Betty Blue. Time for a flashback.
Betty walks in through the door of a shabby beach shack, dressed in some sort of blue apron-dress that is barely covering her breasts, accompanied by red lips and a daring smile. The ocean, the beach and the sky are her only companions. Playing with a sheer pink scarf in her hands she walks towards her boyfriend. “Alors? How do you find me?”, she asks before allowing him to see what’s underneath the apron. The cinéma du look came into full swing.
The story is a mix of crime, road trip and psychological drama. 19-year-old wild child Betty is in love with a 30-year-old handyman and aspiring writer Zorg (Jean-Hugues Anglade). They live in a beach bungalow and “have sex every day”, as the famous opening sequence suggests. But the good times can’t last. Betty’s idealism and fiery, uncompromising nature forces them to practically run away. But there is no clear destination, and with that, they never fully arrive anywhere. Until one of them has to go.
Betty’s character has been inextricably entwined with Dalle ever since. Her wild past and controversial private life gave her a well deserved Enfant Terrible status. Dalle became an instant star. As she is battling invisible demons in that YSL Fall 21 campaign to Mozart’s Requiem Lacrimosa, one cannot help but be reminded of Betty acting out in despair.
Initially, the film received mixed reviews. Roger Ebert criticised director Beineix for making a movie that is rather “for and about Dalle” by making her “boobs and behind” the centrepiece of the film. In other words, the film is supposedly only a testament to Dalle’s untamed sexuality.
The polished look of the film with its vibrant 80s styling provoked some to label the cinéma du look as a genre that prefers style over substance. Hard to argue with that since the genre is in the name. Even though Betty Blue has been frequently reduced to its nudity, Beineix is presenting us a sombre subject matter, wrapped in either ferocious energy or complete numbness.
Betty’s struggles entice almost every action in this film. It is a story about the inability of finding oneself and find one’s place in society. We think we are witnessing a sincere whirlwind romance full of heated exchanges and the restrictions society imposes on the couple individually. But soon we are forced to see them as separate entities, simply latching onto each other. Their obsessive love for one another is crippled by its emptiness. As Betty’s emotional and mental turmoil increases, Zorg fails to see her for who she is. His only option is to chase her while she remains dependant on him. Betty is unwilling to deal with anything that is not going her way and turns her sorrow into a destructive force of nature. Zorg is irrationally devoted to her and tries everything he can to find a place for them to live happily in peace but it never lasts. His help is restricted to the outside world as he has no access to Betty. She dreams up a lonely house in the country and immediately feels suffocated once they arrive. Betty’s emptiness inside is what she craves on the outside, only to find that kind of life impossible. Neither Zorg nor Betty can truly live their personalities out in the open. Zorg’s writing has been labelled offensive and Betty’s stylised sensuality is only covering a deep-lying mental crisis. Her sexiness is a mere bystander that does not serve her.
Their helplessness and confusion is equally reflected in some sort of gender swap, in which Betty starts wearing his clothes and Zorg dresses up as a woman to visit Betty in hospital. Eventually, Zorg liberates himself in order to be the writer he wanted to be. In the end, there is no place for Betty to exist.
While the story remains a debatable one, Betty Blue still mesmerises with its bold colours and iconic stylistic choices. They keep us entertained while watching a young woman gradually deteriorating.
Of course is Dalle’s handyman look with her perfectly messy bob, head to toe covered in bright pink paint worthy of any fashion look. As she’s lounging braless in a tight red dress on a yellow car “warming her ass”, she is inviting everyone to look at her: The cinéma du look has its heroine. Her alluring demeanour is only interrupted by her innocent smile sporting a tooth gap. Dalle became everyone’s favourite movie girlfriend with that explosive mix of being too cool for school, yet as pure as a cartoon character. She is unattainable but which teenager couldn’t relate to at least the idea of her struggle?
Their apartment in the village is oozing classic french antique vibes, an inspiring contrast to the sleazy beach bungalow or old hotel room the couple has occupied before. Even Betty’s make-up is dramatically reflective of her state of mind.
Zorg’s toned and slender body is equally stylised and constantly in movement, keeping up with Dalle’s eye-catching performance. As he tries to accommodate his girlfriend as much as he can, he runs and fights and rushes through the film, always sweating, always quick witted, and always one step behind Betty. Zorg’s invincible dynamism keeps the story going and brings the couple from one place to another until he has no choice left but to stop running.
Betty Blue remains a one of a kind classic and a style reference albeit a peculiar one. An unexplainable sadness lingers throughout the film yet whether the focus lies on Betty’s body remains with the spectator.
In this segment, we showcase the most notable albums out each week. Here are the albums out on October 22, 2021:
Lana Del Rey is back with a new album called Blue Banisters. The singer-songwriter’s eighth studio LP and second of 2021 includes the previously released singles ‘Text Book’, ‘Wildflower Wildfire’, ‘Arcadia’, and the title track, which got an alternate video earlier this week. A day after the release of her previous record Chemtrails Over the Country Club in March, Del Rey announced an as-yet-unreleased album called Rock Candy Sweet, and a few weeks later, another one titled Blue Banisters, which is out now through Interscope. “I guess you could say this album is about what it was like, what happened, and what it’s like now,” Del Rey wrote in a statement on her now-deleted Instagram.
Parquet Courts have returned with their new album Sympathy for Life, out now via Rough Trade. The LP, which includes the advance singles ‘Homo Sapiens’, ‘Black Widow Spider’, and ‘Walking at a Downtown Pace’, was built from a series of improvised jams and was produced with Rodaidh McDonald and John Parish. “Wide Awake! was a record you could put on at a party,” the band’s Austin Brown said in a statement. “Sympathy For Life is influenced by the party itself. Historically, some amazing rock records have been made from mingling in dance music culture — from Talking Heads to Screamadelica. Our goal was to bring that into our own music. Each of us, in our personal lives, has been going to more dance parties. Or rather, we were pre-pandemic, which is when this record was made.”
Hand Habits, the project of Los Angeles-based musician Meg Duffy, has followed up their 2019 record placeholder with Fun House, out today via Saddle Creek. The album was produced by Sasami Ashworth (SASAMI) and Kyle Thomas (King Tuff), while Mike Hadreas of Perfume Genius contributes vocals on ‘No Difference’ and ‘Just To Hear You’. “I like that the idea of a ‘fun house’ can have so many different connotations,” Duffy explained in press materials. “It’s disorienting, it’s filled with all these different rooms with different energies and emotions. There’s a risk that there will be manipulation happening to your environment, but you sign up for it. I really liked the idea that we could take risks, that these songs could sound very different but still make sense together. A lot of the demos for this record were really just folk songs — pretty slow and sparse — but the fun was thinking about what they could become.”
Grouper has a new album out called Shade (via Kranky), her first since 2018’s Grid of Points. The Pacific Northwest artist recorded the LP’s 9 songs over a period of 15 years; some were recorded on Mount Tamalpais during a self-made residency, others longer ago in Portland, while the rest were tracked more recently in Astoria. Liz Harris describes the record as being about “respite, and the coast, poetically and literally,” according to press materials.
Haley Fohr has released her latest album as Circuit des Yeux, -io, via Matador. It marks the vocalist and composer’s sixth LP and first in four years, following the 2017 record Reaching for Indigo. Ahead of its release, Fohr unveiled the singles ‘Dogma’, ‘Sculpting the Exodus’, and ‘Vanishing’. “Destruction has been a huge part of my art,” Fohr told Beats Per Minute. “But I also have my trials and tribulations in my personal life. As I’ve gotten older, especially with -io, implosion and explosion have been equally destructive. Art and music give me a way to traverse it in a less destructive way. And I really hope -io can do that for other people.”
My Morning Jacket‘s self-titled album has arrived via ATO. The band’s first LP of newly recorded material in six years, following 2015’s The Waterfall, it includes the previously shared tracks ‘Complex’, ‘Regularly Scheduled Programming’, and ‘Love Love Love’. “We’ve been gone for a while, and we never knew if we were going to make another record or not or if the band would tour again,” Jim James, who produced the album himself, told UPROXX. “We felt so excited to be back that it felt like such a cool, simple statement to just let the band’s name be the name of the record. Also, I just feel like these times are so complex and there’s so much going on that I also liked the idea of there not being another piece of information with the record. The record is the name of the band and all the things we want to say are inside of it.”
Self Esteem – aka Rebecca Taylor – has put out her sophomore album, Prioritise Pleasure, via Fiction Records. The follow-up to 2019’s Compliments Please features the promotional singles ‘You Forever’, ‘Moody’, ‘Prioritise Pleasure’, and ‘How Can I Help You’. In a press release, Taylor described Prioritise Pleasure as “13 songs of cleansing myself of the guilt and fear of being a woman who is ‘too much’ and replacing that very notion with a celebration of myself, of you, of being a human and the way that isn’t always easy or perfect, and that’s ok. Sorry to my parents for the lyric ‘shave my pussy, that’s just for me’ but i think it’s maybe my finest hour!”
Deerhoof have dropped their latest LP, Actually, You Can, via Joyful Noise. Their eighteenth studio album following 2020’s Future Teenage Cave Artists includes the previously released tracks ‘Be Unbarred, O Ye Gates of Hell’, ‘Scarcity Is Manufactured’, ‘Plant Thief’, and ‘Department of Corrections’. “Think of all the beauty, positivity and love that gets deemed ugly, negative and hateful by the self-proclaimed guardians of ‘common sense,” Deerhoof said of the album’s themes in press materials. “We’d hardly be destroying society by dismantling their colonial economics and prisons and gender roles and aesthetics. We’d be creating it!” The record’s bio was penned by Sadie Dupuis of Speedy Ortiz and Sad13, who describes it as “a genre-abundant record that uses technicolor vibrancy and arpeggiated muscularity to offer a vital shock from capitalism’s purgatorial hold.”
New York City-based trio Wet have issued their latest album, Letter Blue, which is out now via AWAL. Marking the third full-length from the group and the rejoining of founding guitarist Marty Sulkow, it includes the advance singles ‘Bound’, ‘Far Cry’, ‘Clementine’, ‘Larabar’, and ‘On Your Side’. The LP’s 10 tracks were written by vocalist Kelly Zutrau and produced by member Joe Valle, with co-writing and co-production credits from Toro y Moi’s Chaz Bear, Buddy Ross, and Dev Hynes aka Blood Orange on ‘Bound’.
Roberto Carlos Lange has released a new Helado Negro album titled Far In, via 4AD. The musician wrote the follow-up to 2019’s This Is How You Smile in Marfa, Texas during the summer of 2020, and it features contributions by Kacy Hill, Buscabulla, and Benamin, while ‘Gemini and Leo’ boasts a bass line courtesy of Wye Oak’s Jen Wasner and backing vocals from Zenizen’s Opal Hoyt. Of making the double album during these unrecedented times, Lange remarked in press materials, “Escape is never out there, you have to go inward.”
Tonstartssbandht – the brother duo of Edwin and Andy White – have dropped a new LP called Petunia, out now on Mexican Summer. Tonstartssbandht’s 18th studio album, following 2017’s Sorcerer, Petunia was recorded at the brothers’ home studio in Orlando between April and August of 2020 and mixed by Joseph Santarpia and Roberto Pagano at The Idiot Room in San Francisco. “It’s the first time we’ve ever brought someone else into the mixing stage,” Andy White noted in a press release. The record was preceded by the singles ‘What Has Happened’ and ‘Pass Away’.
JPEGMAFIA, LP!; Elton John, The Lockdown Sessions; Duran Duran, Future Past; Ouri, Frame of a Fauna; La Luz, La Luz; Strange Ranger, No Light in Heaven; Jarvis Cocker, Chansons D’Ennui; Every Time I Die, Radical; Angel Du$t, YAK: A Collection of Truck Songs; Guided by Voices, It’s Not Them. It Couldn’t Be Them. It Is Them!; Spirit Was, Heaven’s Just a Cloud; Ross From Friends, Tread; Wale, Folarin 2; Majid Jordan, Wildest Dreams; Lonely Guest, Lonely Guest.
Majid Jordan – the Toronto-based duo of Majid Al-Maskati and Jordan Ullman – have enlisted Drake for the new song ‘Stars Align’, which appears on their new album Wildest Dreams. Listen to it below.
Majid Jordan previously collaborated with Drake on the 2013 track ‘Hold On, We’re Going Home’. Wildest Dreams, their first LP since 2017’s The Space Between, also features contributions from Swae Lee and Diddy. Drake last released Certified Lover Boy in September.
Swedish House Mafia – the EDM trio of Axwell, Steve Angello, and Sebastian Ingrosso – have shared a new song with The Weeknd called ‘Moth to a Flame’. In addition to the track, the group have also announced a 2022 tour, their first in 10 years. Check out the new song and find their tour schedule below.
After a series of compilation albums, the group’s formal debut, Paradise Again, is slated for release next year.
Swedish House Mafia 2022 Tour:
Jul 29 – Miami, FL – FTX Arena
Jul 31 – Orlando, FL – Amway Center
Aug 3 – East Rutherford, NJ – MetLife Stadium
Aug 5 – Toronto, Ontario – Scotiabank Arena
Aug 7 – Montreal, Quebec – îleSoniq Festival
Aug 9 – Boston, MA – TD Garden
Aug 10 – Philadelphia, PA – Wells Fargo Center
Aug 11 – Washington, D.C. – Capital One Arena
Aug 13 – Chicago, IL – United Center
Aug 17 – Detroit, MI – Little Caesars Arena
Aug 19 – St. Paul, MN – Xcel Energy Center
Aug 21 – Denver, CO – Ball Arena
Aug 25 – Austin, TX – Moody Center
Aug 26 – Dallas, TX – American Airlines Center
Aug 27 – Houston, TX – Toyota Center
Aug 30 – Phoenix, AZ – Footprint Center
Sep 2 – Las Vegas, NV – T-Mobile Arena
Sep 4 – San Diego, CA – Pechanga Arena
Sep 13 – Vancouver, British Columbia – Rogers Arena
Sep 14 – Seattle, WA – Climate Pledge Arena
Sep 16 – San Francisco, CA – Chase Center
Sep 29 – Manchester, England – AO Arena
Sep 30 – Glasgow, Scotland – OVO Hydro Arena
Oct 2 – London, England – The O2
Oct 6 – Dublin, Ireland – 3Arena
Oct 8 – Birmingham, England – Utilita Arena Birmingham
Oct 10 – Paris, France – Accor Arena
Oct 14 – Madrid, Spain – IFEMA Madrid Live
Oct 15 – Lisbon, Portugal – Altice Arena
Oct 18 – Milan, Italy – Mediolanum Forum
Oct 19 – Zurich, Switzerland – Hallenstadion
Oct 21 – Krakow, Poland – Tauron Arena
Oct 22 – Prague, Czech Republic – O2 Arena
Oct 25 – Cologne, Germany – Lanxess Arena
Oct 27 – Munich, Germany – Olympiahalle
Oct 29 – Antwerp, Belgium – Sportpaleis
Oct 31 – Amsterdam, Netherlands – Ziggo Dome
Nov 3 – Vienna, Austria – Stadthalle
Nov 5 – Frankfurt, Germany – Festhalle
Nov 6 – Berlin, Germany – Mercedes-Benz Arena
Nov 8 – Hamburg, Germany – Barclaycard Arena
Nov 9 – Copenhagen, Denmark – Royal Arena
Nov 11 – Oslo, Norway – Telenor Arena
Nov 13 – Tampere, Finland – Uros Arena
Toro y Moi, the project of Bay Area-based artist Chaz Bear, has signed to Dead Oceans. Along with the news, he’s also announced that a new Toro y Moi album is slated for release in 2022 via the new label.
“I’m excited to begin this next chapter with Secretly / Dead Oceans!” Bear said in a statement. “Throughout the years they’ve continually maintained a conscious eye on the state of independent music and are pushing the boundaries of popular music. Thanks again to all my fans and supporters in making it this far with my music, your love and time is appreciated!”
Dead Oceans co-founder Phil Waldor commented: “Toro y Moi’s music has been omnipresent in our lives for over a decade now. Chaz has so many fans at Dead Oceans, and we’ve daydreamed a lot about what it would be like to get to work together. Chaz has such creative ambitions for Toro y Moi, and we can’t believe we get to wake up every day not just as fans, but as partners in his next chapter.”
Toro y Moi’s last studio album, Outer Peace, was released in 2019 via Carpark.
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