beabadoobee has released her new EP Our Extended Playand shared a video for the single ‘Cologne’. Following her 2020 debut album Fake It Flowers, Beatrice Laus co-wrote the 4-track EP with the 1975’s Matty Healy and George Daniel. Stream it and check out the ‘Cologne’ visual below.
“This EP was made in a really collaborative way during a time where it was really difficult to do that and I feel so lucky to have gotten to make it with my band and Matty and George,” beabadoobee explained in a press release. “I hope it can bring people together in some way, that’s really what these songs are about, that feeling of togetherness that’s been missing a lot in the last year. It feels like a bridge to what’s coming next too.”
beabadoobee has also announced her North American tour for November and December 2021, which will follow her debut headline run across the UK and Ireland in September and October. Find the full list of dates here.
After growing up in a small town in Ontario, Canada and immersing herself in the Toronto music scene – which led to an appearance in the Weeknd’s 2012 video for ‘The Zone’ – Elissa Mielke moved to Los Angeles in 2019 to focus on her own musical journey. Though she previously worked as a fashion model, music has always been Mielke’s first love; she started performing at a young age and would record herself singing in the forest on a tape recorder. She came close to signing a record deal several times, including with a major label who sought to mold her into a kind of pop star she had no interest in becoming; those simply weren’t the sounds she naturally gravitated to. To say that her aptly titled new EP Finally has been a long time coming would be an understatement – one could have easily said the same about the self-titled project she released under the moniker Mieke six years ago.
Featuring just four out of the many songs Mielke has written during the past few years, Finally finds the singer-songwriter recalibrating her approach and reconnecting with what drew her to making music in the first place. The production here is incredibly sparse – Mielke’s piano or guitar are often the only accompaniment to her astounding voice, which fills out the spaces of these songs with emotion that can hardly be contained. She’s spoken of songwriting as a way of having dialogues with fear, and the power of these songs – from the warm, sacred intimacy of ‘Kind of Thing’ to the devastating beauty of ‘Trying’ and the gauzy, hopeful ‘Palace’ – lies in her ability to turn these internal battles into a universal plea for acceptance.
We caught up with Elissa Mielke for this edition of our Artist Spotlight interview series to talk about her songwriting journey, the making of her new EP, and more.
There’s a line on ‘Kind of Thing’ about “trying to figure out the meaning of it all” when you were fifteen. What was that time in your life like for you?
The beginning of the song – where it’s like, “Hear you, calling, far off in the distance,” and then “crash and all the drunk people cheering” – when I was a teenager, I grew up in the country and we were in the forest and there was a really small town racetrack, and it was the only thing you could hear because there was like 20 acres of forest around the house. A lot of kids from high school would go there and get drunk and smoke weed in the bleachers. The city now is developed and has breweries and trendy coffee shops and stuff, but the city nearby at that time didn’t really have many places to go. So that racetrack was nearby and I could hear it from my window, and I think in reflecting on it, to me it represented… I had a really beautiful childhood and I loved growing up in the country, but also because we didn’t really listen to popular music – you know, my parents didn’t really listen to Bob Dylan or anything that other people’s parents were listening to, mostly classical music and hymns – I heard that and when I think about it now, it kind of represents the separateness I felt as a teenager. I was always trying to figure out why I didn’t feel like I fit, and I think at church I felt like I was trying to make sure I didn’t somehow lose acceptance or love. And then at school it was the same thing where people were talking about music and TV shows, and I didn’t have a TV and we didn’t watch movies. And then people would be like, “We’re all going to the racetrack,” and like, you know, I had never had a beer. [laughs]
I think that messy thing of being a teenager and belonging – I’m reading a lot about belonging right now, and I think especially this year has brought up this sense of exile. And it’s sad that so many people are feeling it at the same time, but if anything this last year for me exacerbated how important it is for us to feel like we belong somewhere. I think as a teenager I felt often very isolated, and the beginning of that song is sort of like a visual memory for me: lying in my bed with the window open, hearing the cars, and just feeling like every kid does or even adults do when you’re having a FOMO moment of like, “Everyone is there, everyone knows what they’re doing, everyone is cool and feels cool and they fit in.” And you know, I just had Bible study and I’m in my bed and can’t go to the racetracks. [laughs]
I also think it’s maybe part of being an artist and a creative person. I mean, with music, I always feel like I belong in a song, or when I’m making music with other people. That’s just been a thing that feels like it’s mine. And in some moments where I feel off or vulnerable or there’s something my subconscious is trying to sort out and it can’t, then I go to a studio or I go to a little piano room and I just play. That’s how the song ‘Trying’ came up – I was feeling all these old feelings and like I didn’t fit, and then the song appears and it’s like, “Oh, I’ve been way too hard on myself, and there’s people who are being way too hard on me that I need to address.” So I think songwriting has become like a passage for that.
How did your interest in music and songwriting develop?
When I was four or five, I started classical piano lessons. And I think I liked it, but I mostly liked when there was a moment in a classical piece that felt really beautiful or emotive. Like, if there was one song where there’s a moment where everything’s Andante and slow and beautiful, I would just play that part over and over again. And that’s kind of how I ended up writing songs, is I would get in trouble with my teacher because I was meant to be practicing the song and doing it like it said, and instead I would just pick the most beautiful parts and play them over and over and sing little things that matched my feelings. And then I took a lot of classical voice lessons, and I studied with an opera teacher.
It wasn’t socially acceptable, necessarily, to make my own songs, like that wasn’t the thing that certain people in my church community were comfortable with. And so, classical music had these big beautiful indulgent moments, and it was kind of music that I had access to. My dad sings songs – he plays guitar and sings and he lived in Mexico for a long time, so he really played a lot of mariachi music at home and a lot of Spanish music and Mexican music, and that also has a lot of harmonic elements and a lot of like big emotional swells. So, a lot of my love for songwriting grew out of that, and then I also grew up in a church where there were a lot of choirs and I sang in a lot of choirs. I sang in a choir that performed with an opera, so that was really powerful, singing with other people and learning about harmony. I still really play a lot with choral elements and I love arranging harmonies.
I also studied journalism in Toronto, and I think I partly studied that because it meant that I could live in Toronto, which was the closest city. I played shows when I was 14 or 15 – I had like two fake managers, and one was named Ingrid and the other one was named Cassia. Because I realized I wouldn’t be able to book shows – you know, I’d call and they’d be able to tell it was a 15-year-old and they wouldn’t book anything. But I quickly learned that if someone else is booking something for you, they’ve already assumed that you’re worth investing in. So, I booked some festivals and some shows for myself as a fake manager, and I got a residency that way at this Hookah bar in a strip mall and kind of just started exploring and making connections with the music scene that way. I played in a punk band for a year and we toured in Canada and played some festivals – I played mostly synths and made noises.
So you started performing songs at that age, and that was when you were still writing songs in secret or in private?
Because my family’s very involved in a church, I started writing some music to sing there too, but often there when I sang it was too emotional and evocative, like, not straight, and so that didn’t necessarily go over super well. I mean, my dad would drive me to the Hookah Bar and sit there and listen to me play my songs, which I really appreciate. So yeah, when I was about that age I started playing shows, and just gaining confidence slowly, realizing that what I did was a thing. I was just writing songs in my apartment and I had this little tape recorder and I’d sing into it in the forest and have these tapes, but I didn’t – until a friend of mine at high school burned me a CD of like, Joni Mitchell and Heart and Janis Joplin, and he was like, “You’re a songwriter, check out these people, these women do the same thing.” And I had never met a woman who is a songwriter – I didn’t know any songwriters or musicians who did it as their job as adults. I wouldn’t dare to dream that I could do it as an adult, but somewhere in my heart I knew I wanted to do that, always.
How did punk come into your life?
I think I’ve felt some anger about being a kid who had, like, a lot of ideas and questions that were very accepted at home, but sometimes in other communities I was part of, I was too loud or asked too many questions or was too expressive, had too many feelings. So, I went to a few punk shows when I was a teenager, and there was something about – I’m a real people pleaser and I have a lot of love for people when I meet them – but anger, and being able to express anger or express frustration, wasn’t something I was able to do. I don’t know a lot about punk music, but whenever I went to one of those shows, it was really welcoming, and it seemed like all these people who were in touch with the things that were hurting them, and they were able to express them by screaming or thrashing around things.
I just played in a few bands, and the one that I toured with a bit I was playing piano at a show and they wanted some more melodic elements to their band, like New Order, Joy Division, so they just contacted me. I didn’t really listen to a lot of popular music fully until I was an adult, so we would be in band practice and they’d be throwing out references and I’d just write them down in my book and be like, “Totally, we can have a sample like that.” And I had no idea what any of them were. But I moved to Tokyo after university, and when I was in Tokyo, I went to a few punk shows, and there were a lot of synth shops and stuff like that. So that was really fun because I learned how to program synths – I had a little microKORG and a few synths and I would sit on the roof of my apartment in Japan and just learn about programming, and started listening to Joy Division and learning about Ian Curtis and how all his idiosyncrasies contributed to his performances.
How did you settle on this kind of stripped-back, simple presentation for this EP?
A lot of the writers I love, like Tori Amos, Ani DiFranco, Joni Mitchell, Carole King, Bob Dylan, Neil Young, Bill Withers – if you put someone in front of an instrument and they just sing their song, you can really hear the song. And I think if you’re not yet married to a style of production, sometimes just having the instrument and the vocals lets you really be in the song. And because the words also matter to me and the vocal matters to me, there’s something about just letting it be that’s like meeting someone and not wearing any makeup, where they can actually see your face. And then you can put on makeup later and it’s fun, you know. So production-wise, I look forward to putting on some glittery eyeshadow or whatever, but this was sort of me being like, “I’m going to meet the music world with no makeup on so they can see what we’re starting with.”
It’s interesting, especially in that context, that the EP is called Finally. What was the reason for that?
Because I entered the music industry from a standpoint of feeling like other people had authority – especially if you’re a young woman in the music industry, and you meet someone who has like won Grammys or had platinum whatevers, there’s this sense that if they tell you something, it should be true. I’d play a show when I was 15 with my fake ID in the city, and these men would come up, sometimes from a label or sometimes a manager, and they’d have a lot of opinions. They were all thinking about how to make money off of whatever little thing they saw. And I think I kind of felt like maybe I needed one of those people to allow me to do music. I had a lot of curving roads and a lot of almosts – I think it’s very normal as an artist, you’re kind of trying things and opportunities open up. And then there were a lot of also just sketchy people that I met in the music industry, where they were offering a big opportunity, but it was also… It wasn’t connected to who I am as an artist, or it was with somebody who really just wanted to sleep with me. It’s different navigating that as a grown woman, but if you’re 17 or 18 – I’m just glad it didn’t destroy my love for writing, and that there was always this instinct where I was like, “It doesn’t make sense to like, drown this in synths, or for me to write this song with this 48-year-old man named Kevin even though he has Billboard hits, because none of this feels true.”
It’s taken me a long time to trust myself. I made an album that I got a bunch of investors for, and… It’s a long story, but I ended up – I barely had the stems for it, so that taught me how to produce and I started learning Logic and realizing that I could put my songs together myself, or I could ask other people to play on them. Or, with the distribution model we have today, I could go and put out a song if I wanted to. I would love to have a team, but I didn’t need anyone. And ironically that’s when I met an amazing team, this year, when I started finally just being like, “I have all these songs, let’s just put them out! Why am I waiting for all these random people to tell me they’re good enough?”
So I think it’s Finally in that way where I don’t really feel afraid of things I used to feel afraid of. And because it’s been a long journey – I had this card I found, it has like my MySpace on it for my music, and I remember being like 16 and getting it at the print shop and going to radio stations, just being like, “I know that I want to share my songs, I don’t know. I’m just trying.” So I think finally I have a sense of things I want to write, and also just the person I am.
How do you feel now that the EP has been released?
Whenever you put out music or something into the world, it feels like standing naked in the middle of a field. [laughs] You’re really seen, and you’ve shared something very vulnerable. To me it feels really important to protect the healthy creative part, because releasing music in this time means that you need to do a lot of self-promotion, and so I end up being on social media or on the internet a lot, and that can be very distracting from the actual thing, which is the music. Because you’re talking about the songs and making visuals for the songs and thinking about how they might represent you. So honestly, I feel like as soon as something comes out, I just want to run and hide. And it’s so nice to have put it out, and to have released it, but I’m really trying to not focus as much on the reaction and more so on the things I want to say next and share next.
But that being said, anytime people respond to it, it’s so moving. I think as a person who had this imposter syndrome thing about not fitting into culture or not understanding culture but so deeply wanting to be a part of the music world in some way, it feels so meaningful anytime anybody’s interested in it or sharing it or talking about it. It really challenges that imposter syndrome.
Is there anything in particular you would like to explore more of in the future?
I think I’ll just have to see. I was reading my book this morning, and there’s this word in Zen Buddhism, Shoshin – I wrote it on my hand – and it means like a beginner’s mind, or having an openness, and the idea of going through life like that. And I would hope that even when I’m 70 and hopefully have released many records, that I would still be approaching any part of life or creativity with this openness to learning something new or to seeing what arrives. So sometimes now when I’m writing it feels right to write on a synth, or it feels right to sing really quiet or really loud. And so I think that’s how I would approach whatever thing comes next. I’m trying to release any pressure or expectation and just to enjoy that. It’s such a privilege and gift to be able to like focus on making art, but I also think it can be so easy to get in your head and for things to feel so heavy and so serious, and now having a team for my music, to focus on outcomes. And it’s just so freeing to pause and just be like, “Whoa, what a cool thing that this thing I loved doing as a kid I still get to keep doing, and I’m still gonna fight to keep doing, always, and hopefully with that sort of lightness and openness.”
This interview has been edited and condensed for clarity and length.
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“Off tour I spent so much of my time watching baseball that I thought I wanted to be a baseball player,” Webster explained in a press release. “But I’m not, so I guess the next best thing was having a crush on one. I guess this song explains what having a crush feels like. Having made up conversations with them in your head even though you don’t speak their language, wearing their team jersey every day, things that make you feel closer to this person that you don’t know at all. But I sang at the Braves game, and they let us meet so I think I got that one out of my system.”
‘A Dream With a Baseball Player’ follows previous singles ‘Better Distractions’, ‘Cheers’, and the title song. Webster has also expanded her previously announced fall tour with new North American dates in February and March of 2022. Find the full list of dates here.
Montreal-based singer-songwriter Ada Lea has returned with a new song called ‘hurt’. Co-produced with Phoebe Bridgers collaborator Marshall Vore, the track arrives with an accompanying video directed by Monse Muro. Check it out below.
“I wanted to find a way to communicate complicated feelings using the simplest language possible,” Alexandra Levy said of the new song in a statement. “I came with a narrative and removed almost every detail, so as not to obfuscate the feeling – but left it open in terms of a resolution: was this hurt necessarily a bad thing?”
‘hurt’ marks Ada Lea’s first piece of music in 2021. Following her 2019 debut album what we say in private, she released her woman, here EP in March 2020.
Damon & Naomi have announced a new album, A Sky Record, which is out August 6. The long-running duo of former Galaxie 500 members Damon Krukowski and Naomi Yang recorded the album with electric guitarist Michio Kurihara. Hear the new single ‘Sailing By’ below, and find the LP’s cover art and tracklist, too.
“”Sailing By” is also the title of a light classical waltz that’s played every night shortly before the 1AM end of the broadcast day on BBC Radio Four, followed by the “Shipping Forecast” Krukowski explained in a statement. “The Shipping Forecast is simply the weather forecast for the sea around the UK. But it’s also a mesmerizing list of place names (“Viking” and “Tiree” are examples) and slightly coded information about wind direction, etc. — it has its own language. But for some reason, Naomi and I found ourselves listening to it almost every night during lockdown… It comes on just as we’re usually cooking dinner, which is how we stumbled on it… and then this marker became important to us, even though (or because?) it’s a report about conditions for places we couldn’t possibly visit…”
Damon & Naomi’s last album together was Fortune, released in 2015.
A Sky Record Cover Artwork:
A Sky Record Tracklist:
1. Oceans in Between
2. Between the Wars
3. The Gift
4. Sailing By
5. Split Screen
6. Season Without Time
7. Midnight
8. Invincible
9. How I Came to Photograph Clouds
10. The Aftertime
Damon Albarn has detailed his new album, The Nearer the Fountain, More Pure the Stream Flows – out November 12 via Transgressive. Along with the announcement, Albarn has also shared the album’s title track. Check it out below and scroll down for the record’s cover artwork and tracklist.
The Nearer the Fountain, More Pure the Stream Flows was originally conceived as an orchestral piece inspired by Icelandic landscapes. “I took some of these realtime, extreme elemental experiences [of Iceland] and then tried to develop more formal pop songs with that as my source,” Albarn told NME. “I wanted to see where that would take me. Sometimes it took me down to Uruguay and Montevideo. Other times I went to Iran, Iceland or Devon. With travel being curtailed, it was kind of nice to be able to make a record that put me strangely in those places for a moment or two.”
Damon Albarn’s previous solo album, Everyday Robots, came out in 2014.
The Nearer the Fountain, More Pure the Stream Flows Cover Artwork:
The Nearer the Fountain, More Pure the Stream Flows Tracklist:
1. The Nearer the Fountain, More Pure the Stream Flows
2. The Cormorant
3. Royal Morning Blue
4. Combustion
5. Daft Wader
6. Darkness to Light
7. Esja
8. The Tower of Montevideo
9. Giraffe Trumpet Sea
10. Polaris
11. Particles
“It’s very, very hard to make something sound simple,” Eirik Glambek Bøe said in a press release announcing Kings of Convenience‘s new album, Peace or Love. He speaks of songwriting as a form of wizardry, a process of letting go of established creative patterns to embrace the magic of a certain moment. That the Norwegian duo’s first record in 12 years – only their fourth in their two-decade career – exudes an air of effortless ease is evidence of their meticulous approach to production, like the return of a familiar breeze at the end of a long, hard winter. If it’s hard to tell whether the atmosphere is entirely natural or carefully fabricated, that barely matters: the feeling is so finely rendered and palpable that the songs nevertheless take on a transportive quality.
The magic of Kings of Convenience’s best music lies in Bøe and Erlend Øye’s ability to make its simple pleasures feel both refreshing and irresistible. Peace or Love, like their previous releases, barely eschews the ‘easy-listening’ tag, yet the duo’s earnest take on the genre is appealing enough to convince you what they’re offering is a unique proposition. And more often than not, it is, particularly when they infuse their palatable brand of folk-pop with touches of bossa nova and jazz. The album’s most percussive songs are also its liveliest: ‘Fever’, the only track here with a drum beat, is as light and airy as the whole affair, but the higher-pitched vocals and slight shift in tone are enough to subtly convey the emotional rush of the lyrics (“I got fever too/ Of a different kind, it makes me wild/ It makes me crave to be with you.” ‘Catholic Country’, a co-write with British folk trio The Staves and one of two duets with Feist (who also sang on 2004’s Riot on an Empty Street), also stands out thanks to the sheer infectiousness of its groove.
The other Feist duet is ‘Love Is a Lonely Thing’, a gentle, heartfelt song that cuts to the core of the album’s romantic themes, which here are communicated less through its sombre lyrics (“Love is pain and suffering/ Love can be a lonely thing”) than the distance that seems to separate the two voices. Even at its least affecting, Peace or Love unfolds with elegance and warmth, each song a delicate dance that will light up differently depending on the environment where it’s heard. But as soothing and lovely as the overall effect is, one can’t help but feel like the smoothness of the production can detract from the maturity and complexity of some of these songs. The album arrives at the end of a tumultuous 12 years for the duo, and their attempt to address the messiness of middle-age on what is otherwise their most easygoing effort to date – particularly on ‘Rocky Trail’ and ‘Killers’ – isn’t always successful.
But then there is ‘Washing Machine’, one of the Kings’ most subtly compelling compositions and a somewhat unusual ending for the album. There’s a searching, vulnerability quality to the arrangement and vocals that rarely cracks through to the surface elsewhere, and the titular metaphor is striking: “I lost count how many times I’ve tumbled ’round inside your washing machine/ Hung myself out to dry to regain some of my self-esteem.” Then the song ends abruptly, foregoing the sense of closure the entire album seems to be built for. Still, it’s pleasant enough to ensure you’ll want to return to these sounds, however long it takes to for them to rematerialize. As they sing on ‘Love Is a Lonely Thing’, “Once you’ve known that magic, who can live without it?”
Netflix’s latest addition follows Maca (Mara Valverde), who makes the most of her life and aims to be happy. Maca’s talent is wasted working as an assistant for an oppressive and terrifying fashion influencer. She spends her time with guys with whom she never manages to establish an emotional bond. Together with Jimena (Elisabet Casanovas) and Adriana (Susana Abaitua), her two unique and lovable friends who are always ready to do whatever it takes to make her problems not seem so bad, Maca has managed to make Madrid a city where everything is conceivable.
Everything seems to be going well until the person who broke her heart, Leo, comes back. Leo (Álex González), the love and biggest mistake of her life, returns to turn everything upside down. Maca has tried to forget him, but now she has to accept that he has returned and face the emotions she has buried away to deal with the unforgettable memory of what could have been and never was.
Sounds Like Love will be available on Netflix globally from the 29th of September, 2021.
Nothing will cause your parents to launch into one of their “In my day…” stories faster than announcing you and your sweetie plan on having a wedding website.
Yes, “in their day,” your parents used a rotary phone to update their family and friends about the wedding — and they did just fine with invitations and RSVP cards.
But here’s the thing: Wedding websites are a brilliant invention that, even though they might not admit it, your parents would’ve loved to use as a tool when they were getting married.
So, the next time your folks question why you need a wedding website, calmly tell them the following reasons:
1. It Will Help You Stay Organized
Planning a wedding takes a lot of time, organization, and energy. In fact, you might want to sit down for this estimate. Couples who don’t work with a wedding coordinator typically spend between 200 to 300 hours planning all the fine details of their big day. Thus, if you and your fiancé don’t feel on top of all the details, you’ll wind up feeling overwhelmed, stressed out, and unhappy — and no one wants that leading up to their wedding.
Enter the wedding website, which can greatly help you to stay on top of things, from tracking RSVPs and keeping tabs on your gift registry to knowing there’s one central place where guests can access information on all things wedding-related. You can also import your guest list to the website and then see, at a glance, who you might need to follow up with on their RSVP card before sending out a digital reminder.
2. It Will be Created for You
You can also reassure your well-meaning folks that your wedding website will give you more time, rather than take up more of it. For example, Minted offers eye-catching wedding website templates created by independent artists. Indeed, by deciding to have a ready-made wedding website — you’ll include all the fine, personal details later on — you won’t have to take a class on how to create a website; it will all be created through a series of clicks of the mouse. Then, once it’s up and running, it will save you time and stress by streamlining so much of the planning.
3. It Can be Made Private
Your parents might be wary that your wedding website is out there on the internet, available for anyone to see. In fact, you might have similar misgivings. Fortunately, wedding websites can be created with special privacy features added, including passwords and other security measures. This way, you’ll know only your invited guests can view your website, and that pushy and obnoxious neighbor of your parents who has crashed other weddings before won’t be able to access it.
4. It’s a One-Stop Wedding Information Shop
You and your fiance have picked out beautiful wedding invitations that you adore, but they aren’t exactly large in size. As you think about everything you want and need to include on this small paper footprint, you might be discouraged and unsure what to leave out. With a wedding website, though, you won’t have to worry about guests not receiving all the information they need.
For instance, you may run into several common dietary restrictions with your guests, including some who are vegetarian, vegan, and/or gluten-free. Naturally, your wedding website is the perfect space to post the menu for your reception, including any common allergens of which to be made aware. Then, encourage guests with specific dietary needs to contact you via your wedding website before communicating this information to your caterer, as needed.
Wedding Websites Make Sense — In Your Day
As you can see, there are several clear reasons why having a wedding website makes a lot of sense. Whether your parents come around on the idea isn’t all that important, although chances are they will. Instead, what matters is that your wedding website keeps you organized and happy, on top of all the details, and able to communicate all sorts of information quickly and easily with your guests.
