Francis of Delirium are back with a new song, ‘Come Out and Play’, which arrives alongside a self-animated video. The track was mixed by Jolyon Thomas (Royal Blood, Slaves) and mastered by Joe Lambert (Sharon Van Etten, Deerhunter). Check it out below.
““I kept thinking about clowns when making this song, I watched Felini’s 8 ½ and the closing scene where a procession of clowns play in a band stuck with me,” Jana Bahrich explained in a statement. “I had them in my mind for months, thinking about the way they hid behind painted faces, keeping so much hidden from the audience, and also just how sad they seemed. I wanted this song to feel dark and to have an eeriness that would make sense in the background of some weird art movie about funhouses and carnivals.”
‘Come Out and Play’ follows the release of Francis of Delirium’s second EP, Wading. The band are set to embark on a UK headline tour this October. Find the full list of dates below.
Sep 8 – Crossroads Festival – Roubaix, France
Sep 9 – Waves Vienna 2021 – Wien, Austria
Oct 18 – Broadcast – Glasgow, UK
Oct 19 – Castle Hotel – Manchester, UK
Oct 20 – Folklore – London, UK
Oct 21 – Ramsgate Music Hall – Ramsgate, UK
Oct 22 – The Crofters Rights – Bristol, UK
Oct 24 – Drummonds – Worcester, UK
Oct 26 – The Bullingdon – Oxford, UK*
Oct 27 – The Boilerroom – Guildford, UK*
Oct 28 – Omeara – London, UK*
Holly Humberstone has shared a new single, ‘Scarlett’, the latest offering from the singer-songwriter’s upcoming EP The Walls Are Way Too Thin. The song arrives with an accompanying video directed by Raja Virdi, which you can check out below.
Humberstone said of ‘Scarlett’ in a statement:
This track is my absolute favourite. It’s a fuck you to the guy that was going out with my closest friend Scarlett and it was written as they were breaking up. The relationship was totally one sided and lasted for years. Scarlett was all in and had pretty much planned their future and it was pretty clear to me that he was stringing her along, until he broke up with her in a really insensitive and heartless way. I was her closest confidant and so I knew everything she was feeling, and I’d see how passive he was with her at parties first hand. She vented to me for probably about a year and so I went through all the stages of a break up with her and watched as she slowly realised her worth and that he wasn’t worth her tears anymore. I wanted to write this one from her point of view. It’s a pretty positive song as it’s about her finally letting go, realising his many faults and taking back her life.
Of the track’s video, Humberstone added:
Sonically and lyrically, Scarlett breaks away from the rest of the EP and in so many ways it feels like such a release. It was really important to me that the music video felt really empowering and a reminder that you can shake off anything rubbish going on in your life and be in control of your own destiny. Obviously the song is about Scarlett so she had to be in the video – especially after being named an ‘emotional grim reaper’ lol. The two of us break into an airport hanger, steal and spray paint an arctic truck, then I perform on the back of it as Scar drives it down the runway. It was honestly the most fun.
Pearl Jam leader Eddie Vedder has announced a new solo album. Earthling will be released via Seattle Surf/Republic, and it includes a new song called ‘Long Way’, which finds him working with Grammy-winning producer Andrew Watt for the first time. Listen to it below.
Last month, Vedder featured on the soundtrack to Sean Penn’s new film Flag Day, for which he collaborated with Glen Hansard on eight new songs, including a cover of R.E.M.’s ‘Drive’. He’s also set to appear on Elton John forthcoming album The Lockdown Sessions.
Last December, Vedder released an EP called Matter of Time. Earthling will mark his proper follow-up to 2011’s Ukulele Songs.
Tasha has announced her new album, Tell Me What You Miss The Most. The follow-up to the Chicago-based artist’s 2018 debut Alone at Last comes out November 5 digitally and December 3 physically via Father/Daughter Records. Today’s announcement comes with the release of the new single ‘Perfect Wife’, which is accompanied by a video directed by John TerEick and Jake Nokovic of the directing duo coool. Check it out below and scroll down for the album artwork and tracklist.
“When thinking about the visual for this song, I knew it had to exude romance, joy, and sweetness,” Tasha explained in a press release. “I found John and Jake by happenstance, but our work together felt totally seamless. This visual represents the giddiness and excitement of going on a first date with someone, and having it turn out even better than you could have imagined. Paired with their vision for a retro, theatrical, musical-movie kind of world, I think this video wonderfully captures that magic of being totally head over heels for someone perfect. John and Jake were a dream to work with, and I’m so grateful for their expert imagination.”
coool’s John TerEick and Jake Nokovic added:
When Tasha approached us with the song, we knew there had to be flowers and there had to be dancing. It’s this pure, magical love song that, for all of us, felt like those ‘too good to be true’ moments that occur when you’re really falling for someone. It was important for us to not tell the story of the date itself, but rather the aftermath, when you’ve come home to your apartment. How can you not just want to throw yourself around the room and move your body when you feel that elated? It’s that feeling that gave us the idea to inject visual language and choreography that felt reminiscent of mid-century films like Funny Face, Breakfast at Tiffany’s and Singin’ in the Rain.
1. Bed Song 1
2. History
3. Perfect Wife
4. Sorry’s Not Enough
5. Love Interlude
6. Dream Still
7. Burton Island
8. Lake Superior
9. Year From Now
10. Bed Song 2
Houston rapper Maxo Kream and Tyler, the Creator have teamed up for a new song called ‘Big Persona’. The collaboration is taken from Maxo’s newly announced album Weight of the World, which is due out in October (via Big Persona/88 Classic/RCA Records). Watch the track’s music video, which sees the pair cruising around in a Rolls Royce, below.
Earlier this year, Maxo Kream dropped ‘Local Joker’, his first solo track since 2019’s Brandon Banks. Tyler, the Creator released his most recent LP, Call Me If You Get Lost, this June.
Los Angeles–based trio MUNA have teamed up with Phoebe Bridgers for a new song called ‘Silk Chiffon’. The track, the band’s first since signing to Bridgers’ Saddest Factory label imprint earlier this year, arrives with an accompanying music video directed by Ally Pankiw and inspired by the 1999 cult film But I’m A Cheerleader. In a statement, guitarist and producer Naomi McPherson described ‘Silk Chiffon’ as “a song for kids to have their first gay kiss to.” Check it out below.
MUNA released their debut LP, About U, back in 2017. They followed it up with Saves the World in 2019.
In his music, Drake is capable of peerless self-examination. He proves as much on ‘Champagne Poetry’, the remarkable six-minute opening track of his new record Certified Lover Boy, which sees him adopting the introspective, self-serious tone usually reserved for his album endings: “Career is going great, but now the rest of me is fading slowly/ My soulmate is somewhere out in the world, just waiting on me/ My chef got the recipe for disaster baking slowly/ My heart feel vacant and lonely,” he raps. It’s a predictably confessional moment on a track that seems to celebrate his successes, all while interpolating the Beatles’ ‘Michelle’ (as sampled in Masego’s ‘Navajo’). But it’s the way he blurs the line between these two seemingly contradictory modes that makes the track stand out; he boasts about his ability to inspire countless Instagram captions, and, in the same breath, makes it all look shallow and isolating: “Under me I see all the people that claim they over me/ And above me I see nobody.”
Here’s how Drake sums up Certified Lover Boy, his sixth studio album and first since 2018’s Scorpion, in the official Apple Music description: “a combination of toxic masculinity and acceptance of truth which is inevitably heartbreaking.” It’s slightly more thought-provoking than his own Editor’s Notes for Scorpion, but only for how baffling it is – you can imagine him trying to build a sentence out of the flashy words toxic masculinity, not quite sure what should come before them. “Combination” is a rather safe way to put it, a tacit acknowledgment that nothing on Certified Lover Boy can pass as ironic critique. The heartbreaking truth he seems to imply must be accepted is that he’ll always be no better than the younger versions of himself, the ones he recreated in the album’s nostalgic teaser back in January. “I don’t understand why you blame me/ Just take me as I am, it’s the same me,” goes the Charlotte Day Wilson sample that plays over the Travis Scott-assisted ‘Fair Trade’.
Spanning 21 tracks and 86 minutes, Certified Lover Boy is at least cohesive and well-produced enough to feel like a proper studio album, which is refreshing following the bloated mess that was Scorpion and the non-album projects Drake has dropped since, including the 2017 “playlist” More Life, the 2019 loosies compilation Care Package, and last year’s Dark Lane Demo Tapes. But with no signs of growth and no clear narrative threading the songs together, it doesn’t take long before the path he carves out on the album’s dynamic first set of songs becomes tedious and murky – or before it stops feeling like a journey altogether.
It’s obvious the 34-year-old is treading familiar ground both sonically and lyrically, which would be fine if Certified Lover Boy wasn’t littered with displays of inexplicable silliness as well as maturity, two extremes that would normally breathe life into Drake’s serene, luxurious, and meandering soundscapes. With nothing bridging the gap between those and the album’s more forgettable moments, however, it’s hard to make sense of the ridiculousness of tracks like ‘Girls Want Girls’ and the Right Said Fred-sampling ‘Way 2 Sexy’, and even harder to excuse the recklessness of ‘Fucking Fans’, an attempt at apologizing to an ex that includes lyrics like: “I was out here fucking fans, I was shameless/ Yeah, and I know that/ You was at the crib reading stories that they sent you/ Most of that was bullshit but some of it I did do/ Hard for me to justify the women I was into.”
Self-awareness can only get Drake so far. Moments like this don’t fall flat because they’re not genuine, but because they feel stuck in a perpetual cycle of toxicity. Even when he fails to break through it, the album is at its most illuminating when there is enough movement within a song to immerse us in Drake’s headspace, by turns anxious and regretful. The theatrical ‘N 2 Deep’ is set to gritty guitar before erupting into a hazy atmosphere aided by guest appearances from Future and the Weeknd, whose uncredited vocals hover in the background, adding to the sense of darkness and corruption that pervade the song. The spectral production on ‘Race My Mind’ perfectly mirrors the intoxicated state of mind of a lover that’s supposed to be a contrast to Drake’s sobriety, but ends up deftly highlighting his own confusion and pettiness. Compare that to a song like ‘TSU’, which not only tells the story of a sex worker trying to make a better life for herself with pure condescension, but also hands a songwriting credit to R. Kelly (currently on trial for sex-trafficking and racketeering charges) due to a sample of ‘Half on a Baby’.
“Combination” turns out to be an apt word: throughout the project, it’s clear Drake is comfortably bringing together different styles he’s helped pioneer while playing out different archetypes he’s already established. Even that will be nothing new for listeners who’ve sat through Views and Scorpions, but it’s impressive how the Canadian superstar’s latest blockbuster manages to yield better results by following more or less the same formula. This is largely because there are enough highlights peppered throughout the tracklist to keep the momentum going, with the fiery energy of ‘No Friends in the Industry’ and ‘Knife Talk’ as well as the melodic ‘Get Along Better’ shining through the record’s second half. Also welcome are moments where he sets his ego aside, like on ‘Fountains’, the Afrobeat collaboration with Nigerian pop star Tems, and the gorgeous ‘Yebba’s Heartbreak’, where Drake is entirely absent.
And for as indulgent as Certified Lover Boy is, it sounds like, for the most part, he’d rather not be at its center. As if paralyzed by how much of his real human self comes through on the opener, he spends the majority of the album more fascinated with “the man I see in the mirror” than perplexed by the struggles that clearly haunt him, which are only hinted at. Because as divisive of a hit as a song like ‘Girls Want Girls’ is bound to be, the backlash (and memes) is likely preferable to the implications of grappling with guilt, fatherhood, or being the most popular rapper on Earth. Besides, it’s easier to reignite old feuds than face your own demons. Drake gives no indication that any of this eludes him, which is why, yet again, the album feels as pleasant and self-important as it is inconsequential. The reason he stumbles this time is that he clings to the character and not the drive that marked his younger self: “This the part where I’ma find a new part of me to explore,” he raps on ‘Champagne Poetry’, a promising thought he soon abandons.
When streaming services first started gaining traction online, they were regarded as a curiosity, out of bounds for most of us who were then tied to slow internet speeds. Over time, these systems would go on to not just match traditional broadcast and cable TV, but eventually outperform these options in many appreciable ways. Watch what you want when you want, as many times are you want, with libraries far more open than anything that had come before. These were the promises of early streaming services, and they propelled the systems to international success.
In the modern age, however, the financial promise of the field has led to a much more varied market. From what used to be based around mostly Netflix came Hulu, Disney+, Amazon Prime TV, and much more. Though breaking up monopolies is great for many things, in this application, it also became a double-edged sword.
From One Came Many
Back when Netflix was the only major name in the game, TV series and movies were all too happy to make the jump. This served as another form of access, one where enormous potential audiences could be introduced to shows they’d otherwise miss. It could create a new chance for old shows to shine, and for new ones to avoid the problems created by poor scheduling. Unintentionally, it eliminated the difficult problem of platform choice that arose when considering multiple cable channels and channel packages. For its effort, it became the most popular streaming service, as Forbes reports, but this complete dominance wouldn’t last forever.
When more organisations started to offer streaming services, they needed a way to succeed. To stand out from the pack, they had to offer something nobody else did, and to this end, the landscape of exclusives was reintroduced into the entertainment sphere. As reported by Decider, 30 Rock, How I Met Your Mother, House M.D, Scrubs, and so much more left Netflix, with each show’s rights owners enticed by better financial deals. Unfortunately, the cost of this move, as it so often does, came down to the consumer.
From what was one cheap option, viewers who want everything are now having to keep up with multiple subscriptions. This is expensive, it’s annoying, and with more streaming services popping up all the time, the problem is only going to grow more pronounced, as it did with cable for so many years. So, how do we address the issue?
Searching for Solutions
Though there are many proposed solutions for the streaming and choice dilemma, one of the most reasonable comes from the ecosystem of online casinos. These digital casinos could have faced a similar challenge, where games are massively split between different websites, but this isn’t what happened. Instead, iGaming services leant into a more cooperative approach.
Today, comparison services like the Bonusfinder Danish site list a huge array of different gambling sites, each of which shares enormous libraries of games. Instead of relying on exclusivity, however, these services leverage bonuses like free spins and deposit matches, user interface, and other key features to set their sites apart. This is a direction that essentially solves the issue of exclusives, and it’s one many would like to see streaming services take.
Whether or not streaming services will ever change their attitude towards the problem of exclusives remains to be seen. Though it’s something practically all customers want, it’s not an easy gap to bridge when looking at extremely competitive and wealthy media conglomerates. We can only hope that one day, they’ll find a cooperative solution that works for everyone. Until then, it looks like researching just one or two key streaming services to maximise engagement is the only solution most viewers are going to get.
Radiohead have announced KID A MNESIA, a new reissue of Kid A and Amnesiac that’s out November 5 via XL Recordings. The release collects the band’s iconic fourth and fifth albums alongside a third disc, Kid Amnesia, featuring unearthed material culled from the Kid A / Amnesiac sessions. The collection will include alternate versions of Kid A and Amnesiac album tracks and B-Sides as well the previously unreleased songs ‘If You Say the Word’ and ‘Follow Me Around’. Hear ‘If You Say the Word’ and check out the full KID A MNESIA tracklist below.
The 21st anniversary reissue will be available in a limited-edition red vinyl LP, a limited-edition cassette, a regular black 3xLP, 3xCD, and digitally. The release will also be accompanied by a pair of books by Thom Yorke and Stanley Donwood cataloging the visuals created during the Kid A and Amnesiac eras.
1. Like Spinning Plates (‘Why Us?’ Version)
2. Untitled V1
3. Fog (Again Again Version)
4. If You Say The World
5. Follow Me Around
6. Pulk/Pull (True Love Waits Version)
7. Untitled V2
8. The Morning Bell (In The Dark Version)
9. Pyramid Strings
10. Alt. Fast Track
11. Untitled V3
12. How To Disappear Into Strings
‘Certainty’, which features harmonies from Hannah Cohen, was written and recorded directly to 4-track during a long power outage while the band were at Sam Evian’s Flying Cloud Studios. Buck Meek explained in a statement:
On the third day of the outage, I found Adrianne on the porch writing a new song, so I sat with her and we finished it together, with the rain falling from the gutters splashing over our guitars. James and Sam saw us writing, and quickly set up a four-track tape machine in the kitchen, powered by the F250 cigarette lighter out in the yard. They set up the drums by the sink, and Max plugged his bass into a Bluetooth speaker set on top of the stove. Take 2 had a great bark from Sam and Hannah’s pup Jan during the solo, but we ended up going with take 3 because it took us about that long to learn the chords. Then we made pancakes and sausages and ate breakfast for dinner.