Phoebe Brigers has today shared the music video for ‘Sidelines’, which we named our Song of the Week upon its release last month. Watch the clip below.
The track, which Bridgers co-wrote with her bandmate and collaborator Marshall Vore and Ruby Rain Henley, is taken from the soundtrack to Hulu’s TV adaptation of Sally Rooney’s Conversations With Friends. According to a press release, it will be Bridgers’ only original new single of the year.
Cola – the new project from former Ought members Tim Darcy and Ben Stidworthy and US Girls/The Weather Station drummer Evan Cartwright – have shared a new single from their upcoming debut album Deep In View, which is due out this Friday via Fire Talk. ‘Fulton Park’ follows previous entries ‘Blank Curtain’, ‘So Excited’, ‘Degree’, and ‘Water Table’. Check it out below.
“Ben and I had a flow writing this record where we would send each other demos every Friday,” Darcy explained in a press release. “It was a really motivating way to write, as I would spend the week working on something but then get the bonus of hearing what Ben had written when I sent him my track. I heard ‘Fulton Park’ and was immediately excited to work on vocals for it. It’s such an interesting instrumental. These lush almost psychedelic guitars in the intro and chorus are paired with this really stripped down almost honky tonk verse. It conjured in my mind this kind of old west imagery. I suppose looking back on the lyrics now, that same kind of juxtaposition is present. Similar to ‘Landers’, it takes a look at the natural world and then the odd, magical, sometimes empty things that humans do on that landscape.”
Xenia Rubinos has unveiled a new song called ‘No Me Dejes Caer’. It’s the second in a series of reimagined songs from her latest album Una Rosa, following ‘La Madrugada’. A reworking of ‘Darkest Hour’, the track features vocals from Combo Chimbita’s Carolina Oliveros. Check out a video for it below.
According to a press release, the original song was “written about the loneliness that is often felt while touring – how she’d be going through a rough moment while people in the audience were consoled by her music, and how painful it was to not feel like they do.” Rubinos explained:
I remember it hurt so much because I wanted to feel like them, transformed by the show and I didn’t – I just smiled and thanked everyone, took photos with people after the show. For me, the show continued until the last person left the venue. It was always so important to me that the audience would take away any image of what they had of the show each night and that my “real” self wouldn’t get in the way or break their good feeling or inspiration.
Commenting on the song, Oliveros said that it “speaks very vulnerably about those feelings that emerge in an artist’s path, reflecting the relationship between one’s art and the passionate messages we share from the heart to those willing to listen. It came from a dark moment in search of the light and support from our friends, family, and fans that so lovingly give and receive in that exchange of energy that so uniquely happens while you feel so free playing music.”
Ty Segall has released a new single, ‘Saturday Pt. 2’, taken from his forthcoming album “Hello, Hi”. Following the record’s title track, the song features saxophone from Segall’s frequent collaborator Mikal Cronin. Listen to it below.
“Hello, Hi” is due for release on July 22 via Drag City.
Throughout the week, we update our Best New Songs playlist with the new releases that caught our attention the most, be it a single leading up to the release of an album or a newly unveiled deep cut. And each Monday, we round up the best new songs released over the past week (the eligibility period begins on Monday and ends Sunday night) in this best new music segment.
On this week’s list, we have Kendrick Lamar’s ‘Mother I Sober’, the longest and most resonant song on his new album, a heart-wrenching meditation on collective trauma that slowly builds intensity, over somber pianos and with gentle accompaniment from Portishead’s Beth Gibbons; the tenderly devastating new track from Bartees Strange, ‘Hold the Line’, which was inspired by George Floyd’s daughter, Gianna; ‘Welcome to Hell’, the nightmarish, shape-shifting lead single from black midi’s third album; Julia Jacklin’s sparse and meditative ‘Lydia Wears a Cross’, which leads her upcoming LP PRE PLEASURE; ‘Thin Thing’, a captivating, jazzy highlight off the Smile’s debut album; Stella Donnelly’s danceable yet lyrically complex ‘Lungs’, the opening track off her recently announced LP Flood; and ‘Ptolemaea’, a horrific, Chelsea Wolfe-esque standout from Ethel Cain’s debut album that sets distorted vocals against thrashing guitars.
Best New Songs: May 16, 2022
Song of the Week: Kendrick Lamar feat. Beth Gibbons, ‘Mother I Sober’
Janet Jackson presented Mary J. Blige with the Icon Award at the Billboard Music Awards last night (May 15). “Mary J. Blige represents truth. Her work has always given us comfort because she sings me, she sings you,” Jackson, who received the same award in 2018, said in her introductory speech. “Mary has made a commitment to her fans to always be her authentic self. Now that’s real love.” Queen Latifah, Gabrielle Union, and Taraji P. Henson, and more honored the artist during an accompanying video montage. Watch it below.
Accepting her award, Mary J. Blige thanked her fans and a slew of collaborators who have contributed to her success. “The way the world is now, I think people think icons are born that way, they become a legend overnight, but that is definitely not the case,” she said. “It takes a lot of time, a lot of hard work, and a lot of survival, trial and error to achieve greatness. I’ve been on this journey for a long time, one that didn’t always look the way you see me now, one that is filled with a lot of heartache and pain. God helped me to channel those emotions and experiences into my music.”
Wet Leg rolled through Later… with Jools Holland to perform two singles from their self-titled debut: ‘Wet Dream’ and ‘Ur Mum’. The Isle of Wight duo made their debut on the show in October, playing ‘Chaise Lounge’. Watch their performance below.
Based on the German novel by Erich Maria Remarque, All Quiet on the Western Front is an English language TV movie adaptation set in World War I. Despite the television release, the 1979 adaptation has an epic, cinematic quality about it, thanks to the large-scale scenes in trenches and bombed villages, as well as the main character’s poignant narration. Paul Baumer (played by Richard Thomas) is a young German soldier who enlists to fight for his country. At the beginning of the war, he and his classmates are filled with idealistic, patriotic ideas about Germany and warfare, and these ideas are reinforced when they attend a rigorous training camp in preparation for battle.
Over the course of the war, Paul and his friends come to realise that much of the information they have been fed was propaganda. An older veteran, Ernest Borgnine’s Stanislaus Katczinsky (affectionately called Kat), is a key player in the boys’ disillusionment. Kind and patient, he treats them like people rather than soldiers, and helps them learn the harsher truths about war. Ironically, Remarque’s book was banned in his own country during the Second World War, which now gives the story an added layer of authenticity and urgency. Here are the best quotes from the 1979 film adaptation.
“You still think it’s beautiful to die for your country. The first bombardment taught us better. When it comes to dying for country, it’s better not to die at all.”
“And our bodies are earth. And our thoughts are clay. And we sleep and eat with death.”
“In the training camp, they filled you with fancy information on how to be a soldier. We’re going to work hard to forget all that. I’ll teach you practical things. Like how to put your diapers on in the front lines.”
“Shoot the wounded horses! Shoot them! Shoot them, can’t you? Shoot them … What have they done? They haven’t done anything … It’s wrong killing horses.”
“They brought us delicious Edammer cheese. We eat and drink of course but there is no joy in it because they always feed us like this before they send us into hell.”
“How long is it? Days, weeks, months, and years. Attack, counterattack, and the dead pile up. Winter, summer. The days are hot and the dead lie unburied. The shells will bury them. But when the wind blows towards us it brings the smell of blood, which is heavy and sweet.”
“I didn’t want to kill you. But you just jumped in here like that. What would you have done? It’s just I’d never met you before like this face to face. I just saw your rifle, your bayonet, grenades. If we threw all those away we could be brothers. But they never want us to know that, do they? They never want us to know. We each have mothers, fathers, the same fear of death. The same pain. The same everything. Everything. Forgive me, comrade.”
“Be careful with these uniforms, boys. They have to be handed down to the next bunch of heroes that get reviewed by the Kaiser.”
“Kat, why do you think we’re in this war?”
“Protect the Fatherland.”
“What are the French fighting for?”
“Protect the Motherland.”
“And who’s right?”
“Whoever wins.”
“Can you imagine that little peacock (Himmelstot) getting a medal from the Kaiser?”
“He behaved like a true German soldier. He ran ahead when he was told to run ahead. And he ran back when he was told to run back. The only thing he didn’t do like a German soldier was die.”
“Do you think that’s what we’re fighting for? Just to die?”
“Do you know what we’re fighting for? Does anybody know what we’re fighting for? Does the Kaiser?”
“I used to live in this room. All my things are here, all my books. My beloved books. But they no longer speak to me as they used to, for I am no longer what I was when I lived in this room. I am a soldier. My business is not reading; it is killing. My knowledge of life is limited to death.”
“Out there all men think as I do; there’s no argument about the meaning of life because it has no meaning.”
“He was talking. Ten minutes ago. We were talking.”
The 2011 film adaptation of Charlotte Brontë’s Gothic novel Jane Eyre is a gorgeous piece of cinema, thanks partly to Adriano Goldman’s incredible cinematography. Throwing the moors into sharp contrast against the sunny, floral grounds of Thornfield, the film follows Jane’s tumultuous journey from childhood to her role as governess to almost marrying her employer, the mysterious Mr. Rochester. While in Brontë’s novel Jane speaks directly to the reader, the film is framed by her mad dash through the foggy wilderness after she learns that Rochester has lied to her about his past. The plot will be familiar to readers of the book, but this film adaptation is a brilliant, vivid journey that shines fresh light onto Jane’s character.
Portrayed by Mia Wasikowska, Jane is haunted by her dark, lonely, and abusive past – something she’s trying to escape in her new position as governess to the cheerful Adèle (Romy Settbon Moore), Rochester’s “charge”. Edward Rochester (Michael Fassbender) is not present when Jane first arrives at Thornfield Hall, and when she does finally meet him, he remains just as much of a mystery to her. Though Thornfield is an isolated place, rumors swirl about Rochester, about Jane, and eventually about their relationship. A series of unsettling events – strange noises in the night, a sudden fire, and Rochester’s random outbursts – doesn’t seem to affect her opinion of him, which gives the viewers clues about Jane’s own character.
HBO’s hit teen drama Euphoria has a distinctive visual aesthetic, which has made the show easy to distinguish from others like it – the characters wear glittery makeup and bright outfits, the lighting is alternately colorful and stark, and the camera maneuvers draw the viewer right into this hyper-stylized world.
Plot-wise, the series follows teenager Rue (Zendaya), who struggles with addiction following her father’s death. She has drifted away from her best friend Lexi (Maude Apatow), so the only company she finds is with her mother Leslie (Nika King), sister Gia (Storm Reid), and dealer Fez (Angus Cloud). These three characters are often the ones to deal with Rue’s lies and overdoses – until Jules (Hunter Schafer) moves to town. Jules befriends some of the other girls in Rue’s circle, including Kat (Barbie Ferreira), who is on a journey of self-discovery and reinvention. This is influenced by Maddy (Alexa Demie), who is dating the violent Nate (Jacob Elordi). In season 2, Lexi’s self-absorbed sister Cassie (Sydney Sweeney) becomes involved in a messy love triangle with Nate and Maddy, who is her best friend.
Each episode focuses mostly on one of these characters but always returns to Rue, who is also the (unreliable) narrator. Every character has their own distinctive traits, and some even have their own theme song. Along with the vibrant visuals, Euphoria is also known for its shimmery soundtrack. The show is scored by English artist Labrinth, who brings a unique sound to the series. Here are some of the best songs featured in Euphoria‘s first two seasons.
All For Us – Labrinth, Zendaya
All My Heroes (The Tox Avenger Remix) – Naeleck, Sarah Rebecca
Champagne Coast – Blood Orange
Dirty Work – Steely Dan
Don’t Be Cruel – Billy Swan
Gangster – Labrinth
Formula – Labrinth
Haunted – Laura Les
Holding Out for a Hero – Bonnie Tyler
Hot – The Last Artful, Dodgr
How Long – Tove Lo
I’m Tired (with Zendaya) – Labrinth
Jump Into The Fire – Harry Nilsson
Liability – Lorde
Me in 20 Years – Moses Sumney
Mount Everest – Labrinth
Nate Growing Up – Labrinth
Never Tear Us Apart – INXS
Right Down the Line – Gerry Rafferty
Run the Road – Santigold
seaside_demo – SEB
She Sells Sanctuary – The Cult
Snow Flake – Jim Reeves
Stand by Me – Ben E. King
Still Don’t Know My Name – Labrinth
Stuck In The Middle With You – The Sometimes Island