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Album Review: Model/Actriz, ‘Pirouette’

If Model/Actriz‘s debut album, Dogsbody, sheepishly lurks in the dim corners and questionable bathrooms of gay clubs, Pirouette is the infallible star everyone clamors to see. Frontman Cole Haden talks back to his demons, then transforms them into a public spectacle. Rather than scoring the soundtrack for a balls-to-the-wall fuckfest, he wields his carnal transgressions with control in a death blow to detached coolness. Interrogations of fetish and desire face inward. Drawing sonic and character inspiration from the pop divas who helped him embrace his sexuality as a teen, he’s no longer a spectator. He’s the main act.


1. Vespers

The metallic din that sculpted Dogsbody reappears with the suffocating rush of an anxious heartbeat. Melodic pop collides with hypnotic instrumentals. There’s prowess in filth and depravity, but just as much in restraint. 

Dogsbody was all sex all the time. Insecurities were implied but never revealed. In a wafting falsetto, Haden succumbs to expectations and desires, and even lets us hear his internal monologue. “Claim that look, match that speed, take that room,” he demands with the fierce diction of a Drag Race guest judge.

2. Cinderella

Haden recounts a formative childhood memory – backing out of a Cinderella-themed birthday party over fear of judgement. Long before he could articulate why he felt different, the loss of innocence left a deep psychic scar. Blistering drums lend a necessary brightness. “Despite all of that pain, I still made it through to the other side. And I don’t have to defend myself like I did. I can let the shield down,” he told Rolling Stone.

Part of the band’s allure lies in their live performances, where Haden glides through the crowd in a pair of pleasers, locking eyes with audience members and forcing them to become active participants. With his gentle push, confident facades collapse to reveal pangs of nascent vulnerability.

3. Poppy

At first glance, infectious pop and dissonant industrial rock don’t have much in common. Model/Actriz effortlessly oscillates between the two with the fluidity that only comes from getting to know your craft. The unlikely concoction of theatrics and harsh noise snaps into place on track three, where Haden leads with the indelible composure of Lady Gaga or Grace Jones.

4. Diva

Impassioned vignettes about shame and lust on Pirouette replace the voyeuristic reflections of Dogsbody. They’re two sides of the same coin, one depraved and messy, the other slightly more demure and refined. As the album progresses, more and more debauchery slips and the dichotomy becomes one. “I’m such a fucking bitch, girl, you don’t even know,” he moans. “Just imagine me absolutely soaked, dripping head to toe in Prada Sport.” 

Inspired by true events, this track is an unnerving glimpse of dating fucking while touring the world. One minute he’s cooly migrating from bar to bar. The next, it registers there’s “no home to take you home to.” He bemoans his vices but succumbs to them anyway. Aaron Shapiro, Ruben Radlauer, and Jack Wetmore rearrange the thumping dance floor into a steamy cabaret.

5. Headlights

Pirouette weighs heavy with discomfort and discordance. Saccharine croons accompany guttural moans, which waft atop Shapiro’s pummeling bass. In a spoken word interlude, Haden recounts his first crush, which he was too embarrassed to admit to himself. Exactly halfway through the record, he delivers a sucker punch from which the remainder triumphs.

6. Acid Rain

Wetmore’s delicate finger-picked guitar rests beside equally sweet vocals. Haden’s muscular voice approaches its limit before climbing up even higher. There’s a sliver of room to breathe, but not enough that it’s ever comfortable. Tension is a form of power, too.

7. Departures 

The invigorating tick of Wetmore’s guitar and the racing thump of Radlauer’s drums activate a foreboding sense of doom like a roller coaster climbing uphill, ready to plummet at any minute. “All I want is to be beautiful,” Haden reveals.

Their distinct methodology crystallizes here. It’s what made ‘Crossing Guard’ irresistibly danceable. His droning cadence fuses with distorted pulses and white-hot clashes. The elements swell until they burst, giving way to an explosive break, underpinned by Shapiro’s churning bass. We can still dance even if we’re crying.

8. Audience

Amidst jagged textures, Haden buckles under the weight of conformity. It’s the second of a four-song run that identifies the source of his uneasiness, sets it ablaze, and basks in the freedom of self-discovery. 

9. Ring Road

Too abrasive for pop and too melodic for no wave, Model/Actriz establishes a class of their own that’s inseparable from their live performances. Haden exorcises his demons in the album’s dizzying climax.

10. Doves

“Within the song, I sing from an empty cathedral, but on a broader level, it explores how a place that once felt like a sanctuary can, over time, become a cage,” says Haden. Noticeably lighter, the second single flips the script on comfort, which can feel more restrictive than liberating.

11. Baton

The supernova continues – first the searing blast, now the sizzling aftershock. This dazzling ballad pays tribute to Haden’s twin sisters. Even when they deviate from their off-kilter sound, they expand upon what they’ve already built without sacrificing their quirks. Always campy and transgressive, Pirouette is the mark of a band that’s honed their strengths and given themselves the freedom to explore.

The Best Songs of April 2025

Every week, we update our Best New Songs playlist with several tracks that catch our attention, then round up the best songs of each month in this segment. Here, in alphabetical order, are the best songs of April 2025.


caroline – ‘Tell me I never knew that’ [feat. Caroline Polachek]

caroline exploded back into view with ‘Total euphoria’, which made our list of the best songs of March. Then came an even sweeter surprise: Caroline Polachek features on ‘Tell me I never knew that’, the second single from the UK band’s sophomore album, caroline 2. caroline’s experimental music often teeters on the edge of abstraction, a pattern that’s mirrored not only in the song’s lyrics but its treatment of Polachek’s deconstructed pop melodies. “Maybe I don’t wanna be anyone/ And I don’t wanna be somebody else,” she sings, contemplating not the nature so much as the desire for a static identity. Then Casper Hughes’ vocals soar, impossibly reminiscent of Jonsi, to set the focus on layers of feeling and embodiment. It might as well be coming from a different world, but it hits too close to home. 

Florry – ‘First it was a movie, then it was a book’

What a way to rev things up. Listening to ‘First it was a movie, then it was a book’, the first song on Florry’s upcoming album Sounds Like…, it’s hard not to start paying attention; the single stretches out to seven minutes, but just when things start feeling a little loose, that guitar riff grips you back in. Vocalist Francie Medosch embodies a character on the verge of a breakdown, the only plausible response to seeing your life play out onscreen: “If I wasn’t feeling so empty baby/ I’d give that movie five out of five.” The narrator tries to write a movie, then a song, but it’s only while watching one not based on their life that the revelation strikes: “I saw myself in everyone, how’d they make a movie like that?” Whatever it is, Florry possess the same kind of gift. 

Hotline TNT – ‘Julia’s War’

Raspberry Moon marks the first time Will Andersen has recorded a Hotline TNT album with a full band – guitarist Lucky Hunter, bassist Haylen Trammel, and drummer Mike Ralston.  The lead single ‘Julia’s War’ arrived as proof of that sense of togetherness, owning a “na na na” chorus and pushing Andersen’s vocals to the front of the mix; not so that you can make more of the lyrics, which remain rather cryptic, but as if to nudge you to sing – not just hum (get it?) – along. When it’s this catchy, even the most introverted shoegaze fan won’t have to try so hard to come out of their shell. 

Lana Del Rey – ‘Henry, come on’

I mean, come on. The perfectly fingerpicked guitar – delicate, but not too raw. The lilting melody. The string arrangements. Ultraviolence, but with an extra dose of clarity and defiance. Lana Del Rey has seen this sad story play out a dozen times, and though she has yet to settle on (or at least reveal) the title of her upcoming album, there’s no trepidation in her lyrics, just hard acceptance. “Some people come and they’re gone/ They just fly away/ Take your ass to the house/ Don’t even bother explaining/ There’s no working it out/ No way.” Maybe you can’t chase a ghost when it’s gone. But ‘Henry, come on’ does a damn good job at summoning it. How can that not get to you?

Lorde – ‘What Was That’

“What was that?” is another way of asking, How’d the years whip by so fast? The lead single from Lorde’s new album Virgin is her first in four years, but really, it takes us back to the Melodrama era, and lyrically even further back: “Since I was 17, I gave you everything,” she sings. A gut-punch, but not nearly as important as the following line: “Now we wake from a dream, baby, what was that?” Jim-E Stack and Dan Nigro’s is punchy but curiously muted, as if the realizations Lorde wakes to are just now settling in. “Can’t see myself yet,” she sighs at the beginning of the song, before the memories start kicking in. If the rest of the album materializes that vision, we’ll be left with way more than hard-hitting nostalgia. 

Pulp – ‘Spike Island’

‘Spike Island’ begins, rather innocently, by tracing back the kernels of inspiration: “It’s a guess/ No idea/ It’s a feeling/ Not a voice/ In my head/ Just a feeling.” Jarvis Cocker delights in drawing out the word feeling, letting it lead him towards earnest self-reflection around his time in the spotlight: “I was conforming to a cosmic design, I was playing to type.” As the first glimpse into Pulp’s first album in 24 years, it couldn’t be more fitting. But this being Pulp, Cocker’s stream of consciousness renders the song knottier the more anthemic it becomes. An aside – “And by the way, Spike Island” – becomes the refrain, a complicating reference to a 1990 one-off gig by the Stone Roses that achieved legendary status despite being plagued by technical issues and bad organization. Cocker latches onto not the aspect of fame but the phrase one of the DJs on the line shouted out: “Spike Island, come alive!” The irony, it seems, is that you can’t command a feeling; if you’re lucky, though, you can simply revel. 

Stereolab – ‘Aerial Troubles’

Certain universal anxieties just hang in the air. You could be dancing to the delightfully off-kilter groove of Stereolab’s ‘Aerial Troubles’, for example, and not realize those troubles pertain to “the fear of death” or “an insatiable state of consumption.” The rhythm seems to get going as soon as the group realizes the fact that “the numbing’s not working anymore” is a good thing, actually; critique works, but it’s more about playing with the thin line between reality and a surreal future. Stereolab have always been good at that, yet they always suggest it’s going to be a little different this time. Judging from the song’s outro and the single that followed, it is.

Wet Leg – ‘catch these fists’

If you’ve heard but one song by Wet Leg, you’d expect the first single from their second album to be boisterous and a little tongue-in-cheek. In pretty much every way, ‘catch these fists’ is a natural return for Rhian Teasdale and Hester Chambers. But the duo’s self-assuredness is audibly on a different level; or maybe it’s that their snarky threats feel a little less jokey over the song’s filthy, razor-sharp riff. The singer-guitarists don’t use the newfound confidence of success to scream louder or polish up their sound; they only murmur lines like “He don’t get puss, he get the boot” with greater conviction. Meanwhile, the song gets stuck in your head. Hats off to them.

BAMBII Announces New EP ‘Infinity Club II’, Enlists Jessy Lanza and Yaeji for New Song

Toronto DJ and producer BAMBII has announced Infinity Club II, the sequel to 2023’s Infinity Club. The 12-track EP arrives June 20 via Because Music, and today’s announcement comes with the release of ‘Mirror’, a buoyant, kinetic club track featuring Jessy Lanza and Yaeji. Check out its self-directed visual below.

Infinity Club II also features contributions from Ravyn Lenae, Jessy Lanza, Yaeji, Sadboi, JELEEL!, Aluna, Lamsi, BEAM, Scrufizzer, Lyzza, Lady Lykez, and £Monzo. Earlier this year, BAMBII joined Shygirl on ‘Flex’ from her Club Shy Room 2 EP.

Infinity Club II EP Cover Artwork:

Infinity Club II EP Tracklist:

1. Infinity Club II
2. Remember [ft. Ravyn Lenae and Scrufizzer]
3. Blue Sky [ft. Lyzza and SadBoi]
4. Mirror [ft. Jessy Lanza and Yaeji]
5. NSync [ft. Beam]
6. Island Criminal [ft. Aluna]
7. In My Mind [ft. Lamsi]
8. Thunder [ft. Jeleel!]
9. In My Mind Again [ft. Lamsi and £Monzo]
10. Bad Boy
11. Spit [ft. Beam and Lady Lykez]
12. Eject

Bruce Springsteen Shares Previously Unreleased Song ‘Faithless’

Bruce Springsteen shared another previously unreleased song, ‘Faithless’, the theme to a film that was never made. He recorded the “long-lost soundtrack” over two weeks in Florida, between the end of 2005’s Devils & Dust tour and the release of 2006’s We Shall Overcome: The Seeger Sessions. “Well, I work by the rocks of the river/ Faithless, faithless, faithless/ Then I met you,” Springsteen sings. Listen to it below.

The soundtrack is one of seven albums to be unearthed for the new compilation Tracks II: The Lost Albums, which is out June 27. “This was a really unusual collection of songs,” he said in a press release. “You could recognize details and maybe a character or two. But for the most part, I just wrote atmospheric music that I thought would fit.”

The Stolen Girl Season 2: Cast, Rumours & Release Date

To call The Stolen Girl binge-worthy wouldn’t be doing it enough justice. At only five episodes, the series almost forces you to watch it as quickly as possible, so you can get some answers and find out how the story ends.

It’s the kind of thriller with an incredible premise, unbelievable twists, and plenty of drama to keep you hooked. Not only that, but it’s making waves worldwide after dropping on Disney+. The question is: can we expect more?

The Stolen Girl Season 2 Release Date

The Stolen Girl premiered in April 2025. At the time of writing, the show hasn’t been renewed for additional episodes.

Unfortunately, it’s also unlikely that it will. Given the ending of the first installment, we don’t really see how The Stolen Girl season 2 could potentially continue the story.

That said, we would love to be wrong. We’re also sure the creators can find a way to deliver more drama in the future, as long as they have an eager audience.

The Stolen Girl Cast

  • Holliday Grainger as Rebecca Walsh
  • Ambika Mod as Selma Desai
  • Denise Gough as Elisa Blix
  • Jim Sturgess as Fred Blix
  • Bronagh Waugh as DI Shona Sinclair
  • Michael Workeye as Kaleb Negasi

What Could Happen in The Stolen Girl Season 2?

The Stolen Girl revolves around Elisa, a flight attendant who arranges an overnight playdate for her daughter. The next day, however, her daughter isn’t returned – and when she and her husband go to check, they discover that she was likely taken.

What begins as a parent’s worst nightmare then spirals into a complex investigation, over the course of which long-buried secrets and personal traumas come to light. Not only that, but Elisa is forced to confront her own traumatic past if she hopes to ever see her daughter again.

The show is wild and brimming with palpable tension, occasional red herrings, and incredible twists. Additionally, the mystery is compelling enough to keep the audience furiously pressing Next Episode.

Even so, the ending of season 1 provides enough answers to make the conclusion satisfying. If The Stolen Girl season 2 were to happen, it may follow a different mystery or pick up after a significant time jump. For now, we’ll have to wait and see.

Is The Stolen Girl Based on a Book?

Yes, The Stolen Girl is an adaptation of the 2020 novel Playdate by Alex Dahl, who also served as an executive producer on the series. If you want to compare the source material with the adaptation, it makes for a gripping read.

Étoile Season 2: Cast, Rumours & Release Date

Dance, romance, and ambition collide in Étoile, the new series from prolific duo Amy Sherman-Palladino and Daniel Palladino.

After delighting audiences with shows like Gilmore Girls, The Marvelous Mrs. Maisel, and Bunheads, the two deliver a ballet comedy-drama truly captivating to watch. From mesmerising performances to fast-paced dialogue, all the hallmarks fans expect are there.

So much so that, at only eight episodes, it doesn’t seem like enough. Is there more story on the way, or will the audience have to make peace with the unknown following that explosive finale?

Étoile Season 2 Release Date

Here’s the good news: Prime Video picked up the show for two seasons from the get-go. In other words, Étoile season 2 is definitely happening.

However, the show just premiered in April 2025, so there’s no official date for when it might return just yet. We’re guessing sometime in 2026, if all goes well production-wise.

Étoile Cast

  • Luke Kirby as Jack McMillan
  • Charlotte Gainsbourg as Geneviève Lavigne
  • Lou de Laâge as Cheyenne Toussant
  • Gideon Glick as Tobias Bell
  • David Alvarez as Gael Rodriguez
  • Ivan du Pontavice as Gabin Roux

What Will Happen in Étoile Season 2?

Étoile delves into the world of professional ballet and takes place in both New York and Paris. To call it ambitious would be an understatement.

The story kicks off when artistic directors Jack McMillan of the New York Metropolitan Ballet and Geneviève Lavigne of Paris’s Le Ballet National initiate an unexpected exchange of their star dancers. All in an effort to rejuvenate their struggling, albeit prestigious ballet companies.

As a result, passionate French ballerina Cheyenne Toussant moves to the US, while American choreographer Tobias Bell challenges norms in Paris. Cue up rivalries, romances, and spectacular dance numbers that will keep you glued to the screen.

Without giving away too much, the first season ends with a passionate kiss that sets up an interesting love triangle. It’s likely that Étoile season 2 will revolve around the fallout from these complicated romantic entanglements, while also allowing the other characters to shine. We can hardly wait.

Are There Other Shows Like Étoile?

If you loved Étoile, there’s a good chance you’ll also like Amy Sherman-Palladino and Daniel Palladino’s other series, especially Bunheads. Unfortunately, that one was cancelled too soon, so it won’t keep you busy for longer than a week.

As a result, you can expand your horizons and sample series with similar themes. The list includes Mozart in the Jungle, Smash, Tiny Pretty Things, and Find Me in Paris.

You Season 6: Cast, Rumours & Release Date

Psychological thriller You has an interesting origin story. It was a Lifetime original series before switching to Netflix ahead of season 2. Turns out, the move was beneficial, and the show quickly became a worldwide hit.

Based on the books by Caroline Kepnes, You revolves around Joe Goldberg, a serial killer with a snarky and fascinating inner monologue. Over the course of four seasons, viewers could follow his unhinged exploits, which took him from New York to Los Angeles to London.

In season 5, Joe is back in New York, where the past seems to finally catch up with him. But is this really the end?

You Season 6 Release Date

Unfortunately, the fifth season is officially You’s swan song. Netflix announced that the thriller will end with season 5 back in 2023, and is sticking to that decision. At least for now.

The final installment premiered in April 2025 and climbed to the top of the streamer’s global top 10, proving that viewers are still interested in what kind of trouble Joe gets himself into.

Given the show’s success, there’s always a chance it will make a comeback. Whether that happens in the form of You season 6 or a spin-off, only the future can tell.

But if Dexter is any indication, serial killers have a tendency to crawl out of the TV grave for more.

You Cast

  • Penn Badgley as Joe Goldberg
  • Charlotte Ritchie as Kate Lockwood-Goldberg
  • Griffin Matthews as Teddy Lockwood
  • Anna Camp as Reagan/Maddie Lockwood
  • Madeline Brewer as Bronte
  • Elizabeth Lail as Guinevere Beck

What Could Happen in You Season 6?

You follows Joe Goldberg, who works as a bookstore manager in season 1. Charming but dangerous, he gets obsessed with the women he falls in love with and finds a way to infiltrate their lives.

Before long, the “romance” devolves and takes a bloody turn. Beck, Candace, Love, Marienne – no one who falls into his orbit is safe.

In season 5, Joe returns to New York under his own name thanks to his relationship with Kate, a rich heiress. He also gets his son, Henry, back and attempts to pull off his version of happily ever after. As it always happens, another woman crosses his path and makes him reconsider his priorities.

Without giving away spoilers, the show ends on a high note, with Joe’s skeletons coming back to haunt him. That said, You leaves room for a continuation, so the thriller could easily be resurrected down the line.

If that happens, You season 6 might take place years in the future. While Penn Badgley seems content to part ways with the deranged character, time away could change his mind. Or, the show could focus on one of the other characters, like Henry. When he grows up, will he follow in his father’s footsteps?

For now, fans have to settle for rewatching the episodes already available whenever they crave more Joe.

Are There Other Shows Like You?

What makes You addictive is Joe’s internal monologue, deliciously demented, and the bonkers twists. If you already miss the series, you can compensate by streaming similar titles.

The list includes Dexter, Barry, Dead to Me, Killing Eve, The Flight Attendant, The Fall, Search Party, and How to Get Away with Murder.

Artist Spotlight: Maria Somerville

Maria Somerville is a singer-songwriter who grew up in Connemara on the west coast of Ireland. She later relocated to Dublin to attend college and released her first LP, a hushed, ethereal collection of ambient pop songs called All My People, while living there. Her music drew inspiration from the landscape of her youth, and during the pandemic, she moved back to Connemara, settling into a house near where she was raised. While working on her wondrous, illuminating new album Luster, released via 4AD, she also started hosting the Early Bird Show every Monday and Tuesday morning on NTS Radio, and enlisted the help of artists including J. Colleran, Brendan Jenkinson, guitarist Olan Monk, and Lankum’s Ian Lynch. Tim Robinson, a Connemara-based cartographer, visual artist, and author who came up in our conversation, wrote: “Often when visitors ask me what they should see in this region I am at a loss. A curious hole in the ground? The memory of an old song about a drowning? Ultimately I have to tell them that this is a land without shortcuts.” Maria Somerville takes her time, remembering, finding direction, so that when words come up short, her music can still lead the way.

We caught up with Maria Somerville for the latest edition of our Artist Spotlight series to talk about moving back to Connemara, the process behind Luster, her collaborators, and more.


How do you feel now that you’ve started playing the new songs live?

It feels quite cathartic, actually, to play the new songs. They take on new forms every night. There’s a vulnerability to releasing the music; even just releasing singles or song after song, it’s kind of like, “Okay,” and then you can stay hidden. But it’s ultimately so nice, and there’s been such nice audiences so far. It’s been quite emotional.

People have naturally traced a line between your two albums: a feeling of homesickness turning into a kind of homecoming. Listening to Luster makes me feel like that line is actually blurred – like some part of that longing is fulfilled, but there’s also something new created in its place. When you moved back to Connemara, how were things different than you expected? What were some things you appreciated not just about being there, but having grown up there?

That was really special for me. When you’re 17 or 18, you don’t really appreciate things; I just wanted to leave and be anonymous and explore. I met a lot of great people that were formative for music, but when I went back, the stillness and the pace of life were very important. With the people there, as an adult, I was able to be part of the community. Knowledge gets lost along the way, so I was picking up things that I wouldn’t in the city. I don’t necessarily know in terms of music, how to separate the two – personally, maybe subconsciously, how it affected what was coming through me. 

Was there a different kind of anonymity in going back than what you sought in the city?

It’s different in Connemara, because there’s so much space, and the landscape – it’s not just buildings. I had a good group of friends as well who had moved back, who played on the record, like Olan Monk and Roisin Berkley. There’s other groups who are putting on shows. A lot of people in Ireland didn’t quite get the hang of learning Irish, so we have other friends who are kind of spreading that teaching. There were just things that we were doing while I was there, and it felt really good. There’s obviously older people in the community who I would have grown up with, but I also had some peers out there. I’m sorry, I feel like I’m not answering your questions properly. [laughs]

No, that’s something I picked up on, too – even though you may say it’s an inward-looking album, it doesn’t feel lonely to me. I’m curious how separated the process was between workshopping the songs on your own and fleshing them out with your collaborators.

Yeah, I demo everything myself. I would work on that for a long time and have lots of ideas floating that I then come back to and try and flesh out. I did a sound engineering course in Galway many years ago, so I had that basic recording set up as a foundation. It was fun for me being able to do it in Connemara rather than a studio because I got to engineer things like the harp or some of the guitars from my friend Henry Earnest on ‘Garden’. Then Olan, who lives not too far away, I would go to their house and do some sessions there. But it would be kind of after. And then some things stayed the same, like ‘Halo’ and ‘Carrib’ were pretty much the first take, The ‘Garden’ vocals are the demo that came out; I tried to rerecord it, but it didn’t happen. A lot of it is a mixture of my own recordings and stuff that I did with others. 

In terms of establishing a routine and the music you were consuming, did hosting the Early Bird show on NTS feed into your songwriting process?

During the pandemic, it kept me connected in a way, so that was a nice anchor to have every Monday and Tuesday. Getting up at six is a nice part of the morning. I was exposed to so much music that there wasn’t really a break when I was also writing. I mean, some of the stuff on Luster is pretty Early Bird. Some of the stuff was written before, but I’m sure, subconsciously, there’s something in there from being exposed to and influenced by different sounds.

The more time I spend with Luster, the more I appreciate its flow and sequencing. It seems to almost follow the order in which the songs were written, even if they weren’t necessarily. How intuitive was putting together that flow?

There were actually quite a few different sequences. ‘Stonefly’ was always the last on the sequences before the final one. I’d always be happy to take collaborators’ advice on those things. But there was an instinct at the very end – I changed the whole sequencing. The two sides have different feelings and different tones and sounds and frequencies, maybe. But how to articulate that in a way that makes sense, I’m not sure.

In following that instinct, did you feel like the record encapsulated the wave of time in which you recorded the album, between 2021 and 2023?

Definitely, I feel like it’s a capsule of that period of writing and making and feeling and being. 

The title, too, feels like the perfect capsule, and the way it appears on the album cover really sets the tone for it. I love that it’s a different texture on the actual physical copy. What was the thinking behind it?

I’m always leaning towards minimal artwork. The view from my window at home – there’s these beautiful rocks that the light shines off, whenever it was raining anyway. It felt like it also summed up the music and the place. But the artwork, I was working with Nicola Tirabasso, who does a lot for 4AD. He was just sending ideas and saw that font; I’d been asking for something hand-drawn, and that one just felt like it worked. I love the texture and the photo of the insert.

There are varying levels of clarity in your lyrics in terms of how they’re heard in the music. I’m curious how conscious you are about which words peak out in the mix and which drift into it more; ‘Halo’, for example, feels hazier to the point of wordlessness. I understand that intentionality is harder to articulate, but are there limits to what you feel comfortable expressing through language?

With ‘Halo’, it’s probably more similar to some of the tracks on All My People. From a production point of view, it was whatever served the song; I had somebody who was mixing who thought that it was good to clean up the vocals, but it was a purely creative production decision to keep it this way. I recorded it with all of these effects, and it just served the nature of the song, more so than ‘Violet’, I guess, or ‘Spring’. It’s important to hear and have the lyrics or the voice more upfront. But maybe there is something in me that I’m still uncomfortable with expressing certain deeper themes.

Is that something you’re conscious of when it’s just words on a page, before you weave a song around them?

I generally always start with guitar and voice; I wouldn’t start with words. So I’d start first with the guitar melody, and after I’ll work out the lyrics. It just depends on the style of song I’m writing. ‘Trip’ was obviously more of a ballad-y kind of tune. ‘Halo’ was drenched in reverb when I was demoing it. Generally just whatever happens from the start, it kinda ends up going that way. There’s always a magic in the first take that when I try to go back and change it, for certain songs, it doesn’t really work. Whereas things like ‘Projections’ – I’m indebted to people who worked on it with me, like Finn [Carraher McDonald] and Henry, because it evolved from the demo hugely. That was a nice part of the process with Luster – I could only take things to a certain stage, and it was brilliant to work with people to see where things could go. 

One thing that makes the record not feel so insular, but rather inviting, is that you sing about everything that is inviting you to be a part of your surroundings, to dig through the core. That’s a thread that you draw across the album, seeing what’s hidden beneath the surface. What makes you curious about the ways the world is, not just not what it seems, but inexplicably more than that? 

Maybe that’s one thing from spending more time in Connemara. I was definitely reading a lot John O’Donohue, The Invisible World, and those kinds of thresholds. I suppose it was just coming through me from being there and having time.

Is there a part of that perspective that you’ve carried over into your life now, especially as you take these songs on tour?

Just looking, you know, keeping your eyes open. Even if you’re in the city, you can still see something beautiful somewhere. I remember there was a line by this artist, Dorothy Cross, that lives in Connemara. She’s incredible, and there was a quote from her, which came from Joseph Beuys. She said, “To be of it, to be in it, not to be looking at it.” And they were talking about the bug and the earth. And she was saying, “I want to be in it – in it physically,” like, “I don’t want to just paint beautiful landscapes.” She finds things that are washed up in the sea, like shark skin, things that maybe people don’t find as interesting. I remember that stuck with me for a long time. I suppose taking your time – I was feeling that there. I’m trying to carry that. It’s definitely harder for us all on tour, to have that grounding. [laughs] But we’re trying. 

I like that quote. There is a lot of into with this record – I guess that’s the yearning.

And it’s universal, I suppose. It’s not just about one specific place. 


This interview has been edited and condensed for clarity and length. 

Maria Somerville’s Luster is out now via 4AD.

Top 8 Gold Bracelets You Should Have in Your Collection in 2025

Gold bracelets are part of those timeless accessories available for ages that lift an outfit. With 2025 already here, style things like well-formal day pieces. In this guide, we cover eight must-have gold bracelets that can work for almost any jewelry collection and will be sure to add sophistication and versatility.

1. Classic Chain Bracelet

Jewellery boxes will never be without the classic chain bracelet. Worthy of wearing every single day yet still playful enough to dress up or down, this line offers a classic and modern masterpiece in one. Made using gold-tone links, this adjustable gold chain bracelet provides a touch of elegance to an outfit without being overbearing. It adds an elegant, polished touch, either on its own or layered with others.

2. Bangle Bracelet

Bangles have been trending for centuries now, and no sign of stopping either. These little solid gold circles can be worn alone or in multiples for a dramatic impact. Because of their uniform shape and shiny finish, they work perfectly with all types of outfits. Bangladesh’s versatile nature of bangles makes it no surprise that these are a necessity each gem steward must have.

3. Cuff Bracelet

Cuff bracelet: What a bold and modern style. Cuffs are a popular bracelet; however, unlike a typical bracelet, they will never close entirely, accommodating varied wrist sizes. They come in multiple widths and styles, and can be engraved with complex designs or left untextured for a minimalist effect. A gold cuff is dramatic and refined, so it should be a statement piece in any collection.

4. Charm Bracelet

Armed with personalization, charm bracelets are customized with multiple charms that can each tell a story about interests or experiences. Gold charm bracelets take this idea of personalization and combine it with the sexy glimmer of gold, for one singular accessory that is perfectly you. Since charms can be added or removed, these bracelets change over time and tell a story of their own depending on the owner of the bracelet.

5. Beaded Bracelet

Clasping strands of similarly beaded blocks of gold together would make the beaded bracelet adorably fashionable and glam as well. These bracelets usually consist of a variety of bead sizes or are combined with other materials such as gemstones to create colors and textures. In addition to their visual appeal, the tactile quality of beaded bracelets provides a fun wearing experience that offers an unexpected statement piece.

6. Tennis Bracelet

The tennis bracelet, one of the most elegant styles, features a single strand of gold and gemstones (often in the form of a continuous line of diamonds). This bracelet is quite elegant and minimalist, which makes it a preferred choice for formal occasions as well. A tennis bracelet is a beautiful piece of jewelry that adds a level of luxury and class to any collection.

7. Link Bracelet

Link bracelets consist of loops of gold connected, and they are a classic and trendy choice. With a range of delicate to chunky link types, these bracelets can be customized to fit any style. They are specifically designed to be resistant yet trendy so that you can wear them daily as well as in special events.

8. Filigree Bracelet

The filigree bracelet is perfect for anyone who loves elaborate designs. Bracelets made with fine threads of gold are a work of art that can never be the same. This is because they are light and airy, making them perfectly suited for adding some elegance without overshadowing other accessories.

Closing Thoughts

Gold bracelets remain at the top of the list of must-have items in your jewellery box in 2025. Whether it’s the all-time favorite classic chain or a charm bracelet that can stay catchy with a little bit of personalization, these pieces cater to all. The different styles of bracelets offer something special and allow any outfit to be balanced. These eight gold-made bracelets are bound to be a perfect fusion of tradition and contemporary, thus serving a timeless elegance that stays with you the longest and prepares you for any occasion.

How to Choose the Right Stormwater Sampling & Monitoring Equipment

Stormwater management is essential for environmental health and community safety. Good sampling and monitoring equipment will furnish the fundamental data required for analyzing water quality and regulating pollution. 

When you pick the right tools, you will have effective management practices, which in turn result in better-protected ecosystems and human communities. If you want stormwater sampling explained well and understand how to choose the right equipment for it, this post will help. So, read on.

Understanding the Basics

Before considering equipment selection, it is worth noting that you must first understand the fundamentals of stormwater sampling. Stormwater is water from precipitation, such as rain or snow, that moves over pavement, rooftops, and other surfaces. This type of water can absorb pollutants, transferring them into bodies of water. 

Monitoring is the measurement of water quality through parameters such as pH, turbidity, and various types of pollutants. These processes are essential for regulatory compliance, environmental quality, and urban planning.

Identifying Your Needs

Needs-based analysis is key to effective equipment selection. Think about the main goals of the monitoring program. Are they to align with regulations, preserve natural ecosystems, or cope with urban systems? The data and hardware types differ for each goal. 

Site conditions, including features of the terrain where the equipment will be used, climate, and existing infrastructure, will also be a big factor in the type of equipment chosen. Knowing this helps in limiting your options.

Types of Equipment

Different stormwater sampling and monitoring equipment are available. For example, automatic samplers may take samples either at fixed time intervals or when certain events happen (e.g., rainfall). These devices are great for long-term, permanent sampling. 

For comparison, grab samplers individually and take samples by hand, allowing for more control of exactly when a sample is taken. The next category is sensors and probes that provide real-time measurements for parameters and allow you to instantly know how your water quality is doing, like temperature, conductivity, and dissolved oxygen, to mention a few.

Assessing the Functions of the Equipment

Sampling and monitoring equipment have many features that need to be evaluated. It will be durable and resistant to weather, which is a necessity for outdoor equipment that gets a lot of exposure to the elements. The high-quality data that is collected based on the sensitivity and accuracy of its equipment makes these features a must-have for accurate results. 

But do not overlook the ease of use and maintenance, too, as they will affect the efficiency of your operations and your long-term costs. Integration with other systems and the ability to connect to data remotely are important new features as well.

All Brands are Different

Looking at different brands and types expands knowledge about available options. We don’t specifically call out brand names here, but check around for manufacturers who offer quality and reliability. 

Research in the form of reviews, case studies, and expert opinions can provide important insights into how a product performs. Analyzing their warranties, customer support, and service choices can all be useful in deciding on a product.

Budget Considerations

Although equipment choice can often be constrained by budget, consider not just the upfront price tag but also the ongoing financial commitment. Even if high-end models can provide sophisticated features, they might not be required. 

When assessing options, factor in potential savings from increased efficiency or decreased maintenance. Logistics should reflect the purpose of the program as much as possible while being cost-effective.

Regulatory Compliance

Stormwater management and compliance with regulatory standards are key focus areas. Select equipment that complies with applicable guidelines and standards developed by local, state, or federal authorities. 

Lack of compliance can lead to penalties and derail project success. Know the relevant regulations and ensure equipment specifications meet them. Similarly, reaching out to experts or regulatory bodies is an additional form of guidance.

Training and Support

Accessing various stormwater sampling equipment can be challenging without adequate training and support, and providing good training to operators to utilize the full capability of the equipment. Most manufacturers provide training programs or materials to help you with this. 

Having access to tech support can also help mitigate problems or get the most out of the gear. Appropriate investment in training and support ensures greater effectiveness and reliability of monitoring activities.

Conclusion

Picking the right stormwater sampling and monitoring equipment involves a thorough appraisal of needs, types of equipment, features, budget, and regulation compliance. 

When you consider these factors, you will be able to choose tools that improve efficiency, meet compliance, and aid in human health. The right choice of equipment not only supports the monitoring objectives but also sustainable water management practices. Better stormwater management can benefit communities and ecosystems through informed choices.