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11 Books We’re Excited to Read in November 2024

Sam Franzini
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11 Books We’re Excited to Read in November 2024

The weather is cooling as we recommend sagas of literary frenemy-ship, skewing satires centuries apart, and the stories of superstars like Cher and Taylor Swift in our November list.

The Man in the Banana Trees, Marguerite Sheffer (November 5)

Winner of the Iowa Short Fiction Award, Marguerite Sheffer’s debut short story collection blends surreal, fantasy, and realism with surprising dexterity. Billed for fans of authors like George Saunders, Kelly Link, and Gabriel García Márquez, The Man in the Banana Trees takes readers to 1493, 2036, and in between with illuminating creativity and sharp wit.

Didion and Babitz, Lili Anolik (November 12)

In this saga about two literary frenemies and rivals, Lili Anolik unearths boxes of diaries found at Eve Babitz’ home shortly after her death. They describe a collaborative version of late 60s and early 70s Hollywood, where a two-story apartment was home to a rotating selection of artists and writers, Joan Didion among them. Both women are uncovered in a new light in this invigorating and provocative dual biography.

Every Arc Bends Its Radian, Sergio de la Pava (November 12)

Riv del Rio upends his life in New York City after a breakup for his homeland of Cali, Colombia, his only job prospect uncovering the disappearance of a local woman’s daughter his cousin knew. Once the criminal syndicate Mondragon is revealed to be involved, the operation takes on a dangerous quality that Riv might not be equipped to handle. Poignant, philosophical, and very funny, Sergio de la Pava’s latest novel is a new kind of detective story.

Camp Jeff, Tova Reich (November 12)

In this skewering satire for fans of Philip Roth and Joshua Cohen by a finalist of the Jewish National Book Award, a New York Catskills resort is converted into a rehabilitation center for high-profile #MeToo offenders. An indictment of therapy culture, wellness retreats, and cancel culture, Tova Reich’s latest is another humorous takedown sure to provoke. 

The Endless Refrain: Memory, Nostalgia, and the Threat to New Music, David Rowell (November 12)

The internet’s influence on the music industry is heard but rarely felt — it’s changed the landscape (for better or for worse) on how music is produced, consumed, and written about. Brilliant records fall to the wayside for not being algorithmically viable, and inoffensive corporate fodder rises to the top. In journalist and critic David Rowell’s new exploration on Napster, Pandora, Spotify and iTunes, he combines personal research, data, and memoir to uncover the stifling of new music in the name of nostalgia.

Heartbreak Is the National Anthem: How Taylor Swift Reinvented Pop Music, Rob Sheffield (November 12)

For the Swiftie in your life, this definitive account of the rise of pop megastar Taylor Swift by Rolling Stone journalist Rob Sheffield is a must-read. Sheffield has been following Swift’s career since “Our Song” in 2006, and his new book tracks her rises and falls with the rigor of an investigative journalist and the eyes and heart of a superfan. 

What We Tried to Bury Grows Here, Julian Zabalbeascoa (November 12)

Julian Zabalbeascoa’s debut novel, What We Tried to Bury Grows Here, is a love letter both to writing and to a historic, divided Europe. Inspired by the words of a political essayist, teenager Isidro Elejalde joins the Spanish Civil War to protect his country against a military coup. Elsewhere, a mother known as Mariana writes about the war, inadvertently and briefly influencing Isidro’s life. Through competing narratives in history, Zabalbeascoa’s debut introduces himself as a prime storyteller.

Cher: The Memoir, Part One, Cher (November 19)

It shouldn’t be a surprise that the legend of Cher could be limited to only one memoir. A legend and activist with an unparalleled decades-long career, Cher started as a dyslexic child dreaming of stardom with not much confidence to back it up. The first part of the memoir traces her meeting and collaborating with Sonny Bono to their eventual separation, and reveals Cher the human as well as Cher the superstar. 

Rosenfeld, Maya Kessler (November 19)

Initially published in Hebrew, Maya Kessler’s debut novel is perfect for fans of the exhilarating and sexy All Fours, Acts of Desperation, or Cleopatra and Frankenstein. When Noa Simon, a filmmaker, meets Teddy Rosenfeld, an older CEO, she has her target set. What follows is an intoxicating and exciting siphoning of power, romance, and desire that will keep your heart pounding and mind lingering. 

 

An Earthquake Is a Shaking of the Surface of the Earth, Anna Moshovakis (November 19)

Poet and novelist Anna Moshovakis returns with her latest, a vibrant and uncanny retelling of an earthly disaster of seismic proportions. An unnamed narrator struggles to regain her consciousness and bodily autonomy after a massive earthquake that disrupts her mind. Driven to paranoia by an intense need to find and kill her younger roommate in order to find some sense of stability on earth and in her body, her descent into madness is intense, bizarre, and urgent.

Twilight Sleep, Edith Wharton (November 26)

Edith Wharton’s satirical portrayal of New York’s Jazz Era of the 1920s gets picked up by Smith & Taylor Classics, an imprint of Our Culture favorite Unnamed Press. Helmed by novelist Brandon Taylor and editor Allison Miriam Smith, the press strives to feature both literary icons and lesser known classicists. In Twilight Sleep, Mrs. Pauline Manford is a woman racked with indecision and movement — her daughter keeps dating the wrong men, her son can’t settle on a career — but all is upended by a handsome Italian actor that she finally feels right with.

Diana Meridi — Exploring Mysticism and Reality through Video Art

Abbie Wilson
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Diana Meridi — Exploring Mysticism and Reality through Video Art

London-based visual artist Diana Meridi carves a unique space in contemporary art, blending personal, philosophical, and mystical themes. Her works transcend mere visuals to create multilayered spaces that captivate viewers in a world of symbols and profound meanings. Central to her art is the motif of the eye, symbolizing divine observation and hidden forces in everyday life. This symbol, skillfully rendered with philosophical depth, becomes a keystone in her exploration of the seen and unseen. 

Meridi showcases her exceptional ability to create spaces that allow for personal reflection while uncovering universal themes of control, divinity, and isolation within the modern world. Her talent lies in melding mystical elements with everyday realities, balancing clarity with abstraction and transforming the ordinary into the extraordinary. 

Artworks

  • “Memento” (2023) — Memento presents a meditative composition where nature and the cosmos merge in a tranquil scene of introspection and unity. Birds drift across a deep sky, while a serene face with closed eyes reflects a transcendent state, inviting viewers to pause and reflect on the interplay between memory and the eternal. Each element seems to capture a fragment of human memory and our relationship with the cosmos, immersing viewers in quiet self-exploration.

  • “Dreamscape Echoes” (2024) — In this piece, Meridi creates a mystical space where shadowy figures perform a ritualistic dance under a cosmic eye and moonlight. This evokes a sense of reverence toward the universe, a nearly sacred moment beyond human understanding. The hypnotic scene invites viewers to participate in the ritual, emphasizing humanity’s connection to the unknown. Her use of layered visuals intensifies the effect, leaving a profound impression that lingers with viewers.

  • “Whispers of the City” (2024) — Arguably one of her most socially resonant pieces, Whispers of the City examines urban solitude. Meridi skillfully blends mystical and modern elements, portraying people as shadows moving within a crowd yet remaining distant from one another. This work delicately conveys the sense of isolation in a world filled with people. Through this piece, Meridi gracefully unites the personal and the collective experience, capturing the poignant paradox of human connection and separation in the urban environment.

Meridi redefines the possibilities of video art, inviting viewers to engage in symbolic and philosophical contemplation. Her exceptional ability to blend visual narrative with profound themes positions her work as more than just art; it’s a gateway to alternative realities that challenge viewers’ perceptions of the mystical and the real. 

Artist Website 

The evolution and importance of medieval swords in history

Our Culture Mag & Partners
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The evolution and importance of medieval swords in history

Medieval swords are among the most iconic weapons from a time when close combat and knightly prowess defined much of warfare. These weapons were not only tools of battle but also symbols of status, honour, and craftsmanship. With various designs and uses, swords from the medieval period hold a rich history that reflects the evolution of military technology, social hierarchies, and cultural significance. If you’re curious to see some of these stunning examples, you can explore an array of medieval swords on the Medieval Extreme website, showcasing beautifully crafted pieces reminiscent of those used in battles of old.

Origins of the medieval sword

The medieval sword evolved from earlier weapons like the Roman spathe, which was a long, double-edged sword used by Roman soldiers. With the fall of the Roman Empire and the rise of various European kingdoms, swordsmiths began to experiment with designs that would better suit the combat needs of the time. These included the cruciform hilt design, which gave the medieval sword its distinctive shape.

In the early medieval period, swords were primarily used by high-ranking soldiers, as forging them was expensive and time-consuming. They were initially short and broad, designed for slashing, but as armour technology improved, swords became longer and more pointed to penetrate chain mail and plate armour.

Types of medieval swords

As warfare and armour advanced, so did the variety of swords. Here are some of the most prominent:

  • Arming sword: a one-handed sword used from the 11th to 16th centuries, featuring a cruciform hilt and double-edged blade. Commonly used by knights, especially during the Crusades, it was ideal for both cutting and thrusting.
  • Longsword: a two-handed sword popular by the 14th century. With a longer blade, it allowed for powerful strikes and was particularly effective against plate armour.
  • Great sword : a massive two-handed sword over six feet long, used by elite troops to break through pike formations and heavy armour. While powerful, it was less practical for individual combat.
  • Falchion: a single-edged, machete-like sword, popular with infantry for its chopping power and affordability. Though simple, it was highly effective in close combat.
  • Claymore: a large, double-edged sword associated with Scottish warriors, used from the 13th to 17th centuries. Known for its size and strength, it was wielded with two hands during battle charges.

The claymore’s imposing size made it a fearsome weapon on the battlefield, especially in the hands of skilled Scottish warriors.

Symbolism and significance

While medieval swords were vital on the battlefield, they also carried significant symbolic meaning. For knights, the sword was a representation of their status and loyalty to their lord or king. A knight’s sword was often blessed by the Church, as it was seen not only as a weapon but as a sacred instrument in the fight against evil, particularly during the Crusades.

In many medieval cultures, swords were passed down through generations as family heirlooms, embodying the values of courage, honour, and duty. Sword ceremonies were also a key part of knighthood, as a knight would kneel before their lord to be tapped on the shoulder with a sword, symbolizing their new role as protectors of the realm.

The craftsmanship of medieval swords

The process of creating a medieval sword was an art form in itself. Blacksmiths were highly skilled artisans who combined knowledge of metallurgy, design, and balance to forge swords that were not only lethal but also beautiful. Early swords were made by hammering iron into shape, but as the medieval period progressed, the introduction of steel allowed for stronger and sharper blades.

The process of forging a sword involved heating metal to extreme temperatures, hammering it into shape, and then cooling it in water or oil—a process known as quenching. This gave the sword its hardness. However, a blade that was too hard could become brittle, so swordsmiths employed a technique called tempering, which involved reheating the blade to a lower temperature to give it the right balance of flexibility and strength.

Many medieval swords were also adorned with intricate designs, inscriptions, and hilts made from precious metals and jewels, especially those wielded by nobility. These swords were as many symbols of power as they were weapons.

Swords in combat

The effectiveness of a sword in medieval combat depended not only on its design but also on the skill of the wielder. Medieval warfare often involved a combination of heavy cavalry charges, infantry formations, and sieges, and the sword was versatile enough to be used in a variety of combat scenarios.

In one-on-one combat, particularly in tournaments, the sword was the weapon of choice for knights, who trained rigorously in the art of swordsmanship. Techniques such as thrusting, slashing, and parrying were essential skills for any knight. The medieval tournament, with its jousting and sword-fighting events, became a key part of knightly culture, allowing warriors to hone their skills outside of battle.

The decline of the medieval sword

As the medieval period drew to a close, the role of the sword in warfare began to decline. The development of firearms and cannons in the 15th and 16th centuries changed the nature of combat, as ranged weapons became more effective than close-quarters combat. Armour became obsolete, and with it, the need for heavy swords designed to penetrate it.

However, the sword remained a symbol of authority and prestige long after it ceased to be a practical weapon of war. Officers in European armies continued to carry swords as part of their ceremonial dress, and duelling with swords remained a popular means of settling disputes among the nobility into the modern era.

Legacy of medieval swords

Today, medieval swords are treasured artefacts that offer a glimpse into the past. Museums and collectors prize these weapons for their historical significance and craftsmanship. Enthusiasts of historical reenactments and martial arts also continue to study medieval swordsmanship, keeping the legacy of these remarkable weapons alive.

The medieval sword’s role in shaping history cannot be overstated. It was not just a tool for battle but a symbol of a knight’s honour, a testament to craftsmanship, and a weapon that defined centuries of warfare. Whether you’re a history enthusiast or a collector, medieval swords continue to captivate with their rich history and undeniable beauty.

Album Review: Tyler, the Creator, ‘CHROMAKOPIA’

Konstantinos Pappis
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Album Review: Tyler, the Creator, ‘CHROMAKOPIA’

It’s tempting to compare Chromakopia to Kendrick Lamar’s Mr. Morale & the Big Steppers, the last event rap album that doubled as a 73-minute-long therapy session. (Tyler, the Creator, ever-punctual, clocks out before the hour’s over.) But it’s just as easy to forget that 15 years ago, just seconds into his debut record, Tyler Okonma pitched down his voice to introduce the first in a cast of characters that inhabit Bastard: Dr. TC, who acts as his therapist. The first piece of information he reveals about himself? His father’s dead, or he might as well be. The fact of his absence has been a prevailing theme in Tyler’s discography: despite tweeting that he’d already moved on from that trauma while recording 2013’s Wolf, he still addressed him directly and vehemently on songs like ‘Answer’, suggesting that it was more about the progression of a narrative than a personal reckoning. That image of Tyler, the Creator now seems distant, yet also, to his oldest fans as much as himself, inescapable – he’s as quick to invoke the early days of Odd Future on the new album as he is to declare, “That version of T that you knew was a memory.” But the signature rawness with which he tackles his contradictions, always somehow muddling into self-mythology, remains integral to his growth as a lyricist and performer.

The build-up to Chromakopia primed us for a new era of Tyler, the Creator: a sepia-toned visual aesthetic, a main character drawn from Norton Juster’s 1961 children’s book The Phantom Tollbooth, and so, it seemed, a new persona. Every one of his recent alter egos, from Tyler Baudelaire on Call Me If You Get Lost to the titular characters of IGOR and Flower Boy, aren’t too unlike the early ones in that they served as windows into his own psyche, except that they allowed for softer, more introspective, and, as an extension of his celebrity status, paranoid sides of himself. But after killing off his former selves on the music video for 2023’s ‘Sorry Not Sorry’, Tyler is left with no choice but to remove the veil of a character study; he gives form to the masked St. Chroma character, wearing a military jacket and foreshadowed in that same video, but doesn’t go as far to weave him into the narrative fabric of the album. The facade is thinner than ever, and he has no one to turn to but himself. On the album highlight ‘Take Off Your Mask’, he tears into the lives of several characters pretending to be something other than their true selves, from a closeted Christian preacher to a stay-at-home mom burying her loneliness and depression. But in a classic twist, he confirms the suspicion that his ultimate target is, in fact, himself: “Boy, you selfish as fuck, that’s why you scared of bein’ a parent/Boy, that therapy needed, I dare you to seek it, but I’ll lose a bet.”

So Chromakopia scans as the dare more than the actual therapy, staring into the mirror of an early midlife crisis and finally seeing – through the fear and trepidation rather than any semblance of healing – your reflection stripped down to the core. What could’ve been another victory lap instead shines as an attempt to reconcile his conflicted personality – and the disparate styles that come with it. The sonic chaos of Call Me If You Get Lost rumbles through these songs, too, but instead of feeling celebratory and colourful, it feeds into the record’s insular and anxious flow. Its bangers are also standouts, not only because they find Tyler at his most rambunctious and electric but because of how well-tailored they are to his guests: the wildly overcrowded ‘Sticky’ explodes with verses from Glorilla, Sexyy Redd, and Lil Wayne, Schoolboy Q and Santigold join him in swaggering through ‘Thought I Was Dead’, and Doechii stands out as the best match to his maniacal energy on the penultimate ‘Balloon’. But his flexes make Chromakopia sound no less unsettled, as if the boastfulness is only a form of self-preservation that ultimately can’t save him from himself. “All I got is photos of my ‘Rari and some silly suits,” he realizes on ‘Tomorrow’; “So I’ll be lonely with these Grammys when it’s all said and done” is his conclusion after sidestepping monogamy on the lavish ‘Darling, I’.

In addition to dialing down the shock factor in favour of confessionalism, Tyler’s post-Cherry Bomb output tends to eschew the bratty sprawl of his early work to create immersive, though still overwhelming, listening experiences. Chromakopia pulls this off while being both conceptually and musically messier than anything he’s put out since Flower Boy, but only because it’s reflective of his tumultuous journey. It has no right being as cohesive as it is, yet the exultant rage of ‘Rah Tah Tah’ naturally leads to the constant unease of being in the public eye on ‘Noid’, which brilliantly samples ’70s Zamrock band Ngozi Family’s ‘Nizakupanga Ngozi’; the frantic pulse of ‘I Killed You’ relaxes into the sexual euphoria of ‘Judge Judy’; and the hope he expresses on ‘Take Your Mask Off’ – toward those other characters, fictional or not, but also himself – ripples through the beginning of ‘Tomorrow’.

But perhaps nothing binds these songs together more than Tyler’s attempt to turn this self-exploration into empathy: something lighter. It’s not always successful, often self-consciously so. The ending of ‘Judge Judy’ is darker than anyone could expect, to the point that Tyler himself seems unsure how to handle the friction musically. ‘Hey Jane’, which shares its name with a telehealth abortion provider, is framed as a conversation between himself and a woman in the midst of a pregnancy scare; though his perspective includes lines like “You gotta deal with all the mental and the physical change/ All the heaviest emotions, and the physical pain,” his words come up short. It’s not until he flips the script again by adopting the woman’s perspective that they really resonate: “I’m 35 and my ovaries might not reset/I don’t wanna live my whole life feeling regret/Damn, a feeling you can never understand/You just hope to god I get my period again.” No pressure, they both affirm, a phrase that echoes elsewhere on the album, which of course is never able to shake it off entirely.

Tyler, the Creator may not be ready to embrace the prospect of fatherhood or other types of commitment, but his worries around them also differentiate Chromakopia from an album like Mr. Morale. More importantly, the level of vulnerability on display justifies Tyler’s choice to let his mother, Bonita Smith, serve as the Greek chorus on the album – a stark contrast to DJ Drama’s hypeman role on Call Me If You Get Lost. She’s the first voice we hear on Chromakopia, and he knows her advice will illuminate his shortcomings as much as guide him along. But the real gut punch arrives on ‘Like Him’, which ends with her admitting that his father was a “good guy,” going as far as to claim responsibility for his absence. The question that haunts Tyler throughout the track and hides behind many others here – how much he really might have in common with this person he’s never met – takes on a totally new meaning. Tyler doesn’t examine it further; there’s no suggestion the revelation has changed his attitude in the slightest. But if nothing else, it’s an incentive to stop perceiving and constructing himself through the lens of others – especially when there’s so many of us. Only he knows where that leaves Tyler, the Creator.

From Studio to Global Dialogue —How Xu Zhu Bridges Creative Cultures Through Engineering Precision

Abbie Wilson
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From Studio to Global Dialogue —How Xu Zhu Bridges Creative Cultures Through Engineering Precision

In today’s globalized music industry, recording engineers who combine technical expertise with cross-cultural fluency are indispensable for international collaborations. Xu Zhu, professionally known as BooBoo, is a distinguished sound artist based at Hollywood’s Blackwood Studios. With deep insight into both the American and Asian music markets, he has been instrumental in bridging cultural and linguistic divides, ensuring seamless creative partnerships.

In 2024, leading Korean label XGALX hosted its first writing camp in the United States, bringing together renowned songwriters and producers from Korea, Japan, and the U.S. The week-long program took place at Blackwood Studios, where Xu Zhu served as the lead recording engineer. He was responsible for managing all aspects of the recording process, which included accommodating various artistic working styles, adapting to different creative rhythms, and capturing a wide range of vocal textures. His efforts were instrumental in ensuring both the productivity and cohesion of the entire camp. His dual familiarity with Asian musical aesthetics and American studio practices allowed him to navigate cultural nuances with ease and to create an environment where diverse talents could thrive. As a result, dozens of original tracks were completed during the week-long session.

（Xu Zhu with Xgalx Records team and the main creators during their collaboration）

In this setting, Xu Zhu demonstrated that he was more than just a sound engineer; he served as a creative mediator. He quickly adapted to varying approaches, whether by facilitating spontaneous writing sessions for improvisational creators like Drew Ryan Scott or by providing a calm, focused space for composers who preferred to work with greater precision. In fast-paced, team-based brainstorming environments, he maintained a sharp awareness of each contributor’s ideas and was able to capture and consolidate those ideas into cohesive recordings.

Beyond the realm of pop music, Xu Zhu has also excelled in projects that require intense coordination and advanced technical execution. One notable example is the international mobile game Reverse: 1999, which was developed by Deep Blue Interactive and produced in partnership with Canada’s One Line Studio and Blackwood Studios in the U.S. Xu Zhu led the voiceover recording process for a large cast of characters and narrative segments. This project involved multiple voice actors with vastly different vocal ranges and emotional deliveries, which required him to manage a highly dynamic recording environment while maintaining consistency in quality and tone.

（Xu Zhu with the producer, director, and voice actors after recording game voiceovers for ‘Return to the Future 1999’ with One Line Company.）

To address the complexity of the workflow, Xu Zhu created a custom recording template that streamlined the production process. This template has since been adopted by partner studios. In addition, he implemented a real-time remote recording and monitoring system that connected directors and actors in the U.S. with production teams in China. This system enabled high-fidelity audio transmission and allowed for synchronous communication across continents. His innovative solution now serves as a model for remote audio collaboration in cross-border creative projects.

In today’s global music ecosystem, Xu Zhu represents a new professional identity for the audio engineer. He is not merely a technician, but also a cultural conduit and a production strategist. He enables creators from different parts of the world to build something cohesive, dynamic, and artistically honest. In doing so, he is not only helping shape the sound of tomorrow’s music but is also reshaping the way that sound is made.

Albums Out Today: The Cure, Mount Eerie, Autre Ne Veut, Haley Heynderickx, and More

Konstantinos Pappis
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Albums Out Today: The Cure, Mount Eerie, Autre Ne Veut, Haley Heynderickx, and More

In this segment, we showcase the most notable albums out each week. Here are the albums out on November 1, 2024:

The Cure, Songs of a Lost World

Songs of a Lost World, the Cure‘s first album in 16 years, has arrived. The 4:13 Dream includes the previously released singles ‘A Fragile Thing’ and ‘Alone’. The LP was written and arranged by Robert Smith, who produced and mixed it with Paul Corkett. Smith also created the sleeve concept, which features Bagatelle, a 1975 sculpture by Slovenian artist Janez Pirnat, while longtime collaborator Andy Vella handled the record’s art and design. It’s the band’s first album with guitarist Reeves Gabrels since he joined as a full-time member in 2012, and features the return of keyboardist Roger O’Donnell, who rejoined the band in 2011 after a six-year hiatus.

Mount Eerie, Night Palace

Phil Elverum has released Night Palace, his first album under the Mount Eerie moniker in five years. Billed as a spiritual sequel to the Microphones’ 2001 classic The Glow pt. 2, the record spans 26 tracks, including the previously unveiled ‘I Saw Another Bird’, ‘Broom of the Wind’, ‘I Walk’, and ‘Non-Metaphorical Decolonization’. “These songs point at a moment of release, of peace found in a non-intellectual lightning strike after long waves of turmoil and surrender,” Elverum explained. “I tried to give them all they needed to go out beyond my little story independently. I have traveled through decades of fluctuations, swinging between the concrete and the mystical, between attachment and annihilation, between certainty and dust, now washed up on a shore in what I’m pretty sure is an authentic state of peace. The desperate reaches toward belief and the recoils of aversion have calmed. A raven loudly flaps through the branches above me and I say hello like it’s no big thing.”

Autre Ne Veut, Love, Guess Who??

Arthur Ashin, the singer-songwriter and producer who records as Autre Ne Veut, is back with their first album since 2015’s Age of Transparency. It’s called Love, Guess Who??, and it was preceded by the singles ‘Okay’, ‘About to Lose’, ‘Heavy Tho’, and ‘Itchy Blood’. The record features contributions from Micah Jasper (ELIO, Rebecca Black), Kris Yute, Spencer Zahn, BlankFor.ms, Jessica Zambri (Solvey, Zambri), Cristi Jo Zambri (Ex Mazed, Zambri), Joe Stickney (Bear In Heaven, Ex Mazed), Jacob Becker, Raia Was, and Joxx Wilson.

Haley Heynderickx, Seed of a Seed

Haley Heynderickx has released her first new album in six years, Seed of a Seed. The Portland-based singer-songwriter previewed the follow-up to her 2018 debut LP, I Need to Start a Garden, with the songs ‘Gemini’, ‘Foxglove’, and the title track. It finds the artist working with a “core jazz boy band” featuring Daniel Rossi on drums, Denzel Mendoza on trombone, and Matthew Holmes on electric and upright bass. According to a press release, the album explores “how distant we can feel from nature and ourselves in a world of technology, overconsumption and consumerism.” Heynderickx explained, “The irony is I’ll still be asking these questions; I’m not on the other side of it.”

Freddie Gibbs, You Only Die 1nce

Freddie Gibbs has surprise-released his new album You Only Die 1nce. It’s the rap veteran’s first LP since his 2022 Warner debut $oul $old $eparately, and he announced it just yesterday, sharing a video for the lead single and closing track ‘On the Set’. Serving as a sequel to 2017’s You Only Live 2wice, The project features production from BNYX, 454, Andrew “Pops” Papaleo, Ben “Lambo” Lambert, DJ Harrison, and Thurst Mgurst.

Olivia O., No Bones, Sickly Sweet

Olivia O., one half of the NYC-via-Atlanta duo Lowertown, has unveiled her sophomore album, No Bones, Sickly Sweet. It was almost entirely written, recorded, produced, and mixed by Osby. “This album is very personal and vulnerable – a lot of it was made during periods of spending excessive time by myself,” Osby shared. “It’s me trying to confront things that I’ve been avoiding, and sort of a retaliation against things I’ve been feeling really grossed out or confined by.” She added: “There’s a weird power you have in that one moment of destroying yourself, where it’s all on your own terms,” she says. “Most people are scared to risk destruction, and they’ll do anything to have self-preservation, even if it’s at the cost of being their true selves.”

Lil Uzi Vert, Eternal Atake 2

Lil Uzi Vert has dropped their fourth studio album, Eternal Atake 2. The Philadelphia rapper announced the record a week prior with a trailer that referred to the March 2020 release of their second LP, Eternal Atake. “On March 6, 2020, Lil Uzi Vert mysteriously vanished,” it stated. “While it was never confirmed what happened that day, the faithful believed it to be the fulfillment of a long-awaited prophecy… Eternal Atake.” Eternal Atake 2 serves as the follow-up to last year’s Pink Tape.

Katrina Ford, H.E.A.R.T.

Former Celebration bassist and vocalist Katrina Ford has issued her debut album, H.E.A.R.T., which stands for Heart Ember Abuse Resin Trend. “Edges, the line, the start and the finish, There was no clearly defined beginning or ending to the making of this album,” Ford said in a statement. “My work as an artist is a run on sentence. I light many fires and some I carry out the door, so to speak. Some of these songs were written years ago and some were finished this year. They all have the mark of pandemic.” Ford made the LP with her Celebration partner Sean Antanaitis, adding, “We’re maximalists. I love all kinds of music — the vocals and recording techniques of Phil Spector and girl group pop, the weirdo pop of ’80s legends like Kate Bush and Peter Gabriel, and the punk and goth that’s in my bones.”

Military Genius, Scarred for Life

Military Genius – the project of Bryce Cloghesy, a member of the Canadian art-punk collective Crack Cloud – has a new album out, Scarred for Life, via Unheard of Hope. The album’s title refers to a near-death experience Cloghesy had in 2012, when he fell through a window. “I tore up my left arm real good and never slowed down to process the trauma,” he explained. “It took some time to realize that I had been working tirelessly for years, white-knuckling life without any tools to process stress or trauma. So there are many lyrics about that mental health journey, learning to cope and accept.” The LP was previewed by the tracks ‘Window to the Soul’ and ‘Darkest Hour’.

Other albums out today:

Willie Nelson, Last Leaf on the Tree; Contour, Take Off From Mercy; urika’s bedroom, Big Smile, Black Mire; Planes Mistaken for Stars, Do You Still Love Me?; Thus Love, All Pleasure; Fionn Regan, O Avalanche; mxmtoon, liminal space; Flower Face, Girl Prometheus; Thirdface, Ministerial Cafeteria; Jennifer Castle, Camelot; Du Blonde, Sniff More Gritty; EEP, You Don’t Have to Be Prepared; Dean Drouillard, Mirrors & Ghosts; Sam Blasucci, Real Life Thing; Beatrice Dillon, Seven Reorganisations; Sarah Neufeld, Richard Reed Parry and Rebecca Foon, First Sounds.

Ethel Cain Shares Video for New Single ‘Punish’

Konstantinos Pappis
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Ethel Cain Shares Video for New Single ‘Punish’

Ethel Cain has released ‘Punish’, the lead single from her upcoming project Perverts. Featuring contributions from Vyva Melinkolya on the baritone guitar and lapsteel, the track arrives with a music video directed by Cain and Silken Weinberg. Check it out below.

“I wonder how deep shame can run, and how unforgivable an act could be that I may still justify it in some bent way to make carrying it more bearable,” Cain said in a statement. “Would I tell myself it’s not my fault and I couldn’t help myself? Would anyone truly believe that? Would I?”

The follow-up to 2022’s Preacher’s Daughter spans 90 minutes, but Cain has described it as an EP rather than an album. She wrote, produced, and recorded it between Coraopolis, PA and Tallahassee, Of the project, she wrote:

The Consequence of Audience

As I went there through the long, long wood, I felt no-thing and I was no-thing and I was at ease. The grey ash trees and their mottled plumage were as one with each other, curving and branching to form a ceiling overhead. There was wide separation between trunks, creating vast corridors stretching off in all directions before me, behind me, all around me. O, what praise I could sing of that never-ending dusk fall I spent between those oaks! None came with me, none came upon me, for I was alone and I was at ease. Yet came the day the trees broke, the corridor ended, and I was thrust upon the rocky expanse that was the Great Dark. There I saw first face and heard footstep, few and far between, but I was no longer alone. It was a shameful deed to carry these two naked hands as they clenched hotly, now in full display for all to see. I had never noticed them in the wood, for I was at ease. Here, the taut skin seemed to stretch and sweat, almost glowing, as if exasperated of their own grip. For as I wandered the Great Dark, there was not but grey, barren rock as far as any eye could see. It did make a passerby out of an observer. I saw them trudge by, fingers dipped into their open mouths desperate for wetness, the lolled tongue. There, in the wood, I was the watcher, but here I am nothing but displacing air. Yet, within the smothering toil of my apathy, I had heard the bell. Murmur of God between their slick, bent fingers ruffled the hair on the back of my neck. My muscles groaned against the weight of the skin around them, aching to be set loose.

All at once, I saw, from where I stood, there rose a great dome atop a hill on the horizon before me. Yes, I saw it there with mine own two eyes! The white exterior peered at me with flat orifices obscured through the mist, barely distinguishable from the dark sky behind it, as though all the world beyond the dome was cut from the same slab, only slightly effaced. The convex roof sat atop a disk, held up by great ionic pillars circling the temple. Steps radiated out and down the slope, like ripples in a pond escaping a dropped stone. It was greater than life, greater than the wood, greater than all else which filled this dark, and my gullible delight was that it was all mine. Yes, all mine! One could follow me to it but they could not follow me in. My hands stretched outwards with an audible cracking in the bone as I crept forward there.

I could not tell you the rest. I would not even attempt, for it would change no-thing. To know if I did go completely naked into the theater of the divine. If I did need for no-thing, want for no-thing. If I was then full to the brim, cylindrical pull slid through my gaping jaw into my endless throat. If I saw it there, shimmering through the veil like pearlescent oil over crystal water. If it heard me singing with every atom that formed me, through every orifice and wound I had, polytonal in my begging for it to complete me with the fifth. If it looked into me, saw how I needed to know what God knows and to be with him. If it spoke back to me in flat dissonance, “how couldn’t ye?”

It would be of no good to speak these things to you. In what way I was still returned to the ground, even if beneath it, intact with my puerile need to repeat my-self and my mistakes. Who would not climb the wall for a peer over the edge? The cautionary tale is the fool’s errand, and I am no fool. I am as my hands are; twisting in on themselves and bursting at the seams. I can-not contain the ache for sensation, just as I could not contain the grief as I fell, nor the agony as I crawled my way back to this rocky countryside, and lo! I am on my way there again now. I am, I am, I am! But I will not tell you the visceral details, as you already know them. You all do.

It’s happening to every-body.

The Intricate Art of Sche-Hao “Thomas” Wang

Abbie Wilson
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The Intricate Art of Sche-Hao “Thomas” Wang

Sche-Hao “Thomas” Wang’s film work combines introspective storytelling with a broad appeal, making him a unique creative voice in both editing and directing. Originally from Taiwan and now based in Los Angeles, Wang’s style draws on his theater and philosophy background, refined further during his MFA studies at USC’s School of Cinematic Arts. This mix of influences shapes his character-driven, structured narratives.

As one of his standouts, When a Man Is Suspicious (2023), is a three-minute micro-comedy that tips its hat to Jean-Luc Godard’s Pierrot le Fou. The film humorously explores a middle-aged man, Paul, who begins to suspect his wife of infidelity, leading to a series of funny and often absurd imaginings. By balancing bold visual cues with a carefully timed soundtrack, Wang keeps the tone light, drawing viewers into Paul’s insecurities without overstaying his welcome. This style, which stays fresh and compact, has resonated across cultures and won acclaim at festivals like the Tokyo International Short Film Festival and Austin Micro Film Festival, showing Wang’s knack for making universally appealing stories.

In Down the Road (2022), Wang takes on an editorial role, shaping a socially aware, personal documentary. Following philanthropist Woody and his young daughter, Luna, as they travel through California to deliver RVs to wildfire victims, Wang’s editing combines candid footage with reflective pauses, emphasizing both the victims’ hardships and the evolving bond between father and daughter. His skilled editing captures the journey’s emotional weight and moments of resilience, bringing the story’s heart to life. The film’s success at events like the Cleveland International Film Festival speaks volumes about Wang’s range and precision as an editor.

Themes of family relationships reappear in Wang’s narrative shorts, particularly in The Sound of Walking (2023) and The Last Sonata (2024). The Sound of Walking shows a son struggling to hide his sexuality from his blind father. Starting as a comedic attempt to keep his relationship under wraps, it soon intensifies into a high-stakes moment, with Wang’s expert use of sound alone to build tension. The final scene, relying on audio cues, highlights Wang’s ability to evoke strong emotions with simplicity, earning The Sound of Walking a spot at the St. Louis International Film Festival.

In a similar way, The Last Sonata delves into the complex relationship between a father and his estranged son, using music and silence to show their unspoken conflicts. Through carefully placed moments of silence, Wang brings out the tension and lingering pain between the characters, creating a haunting and emotional atmosphere. Each frame carries a strong emotional impact, drawing viewers into a moving reflection on forgiveness and reconnection.

Wang also explored vertical storytelling through his editing work on the mini-series Breaking the Ice, which reached over 200 million views as of October 2024. In this project, he adapted traditional editing styles to suit the unique demands of vertical format, demonstrating his versatility. At a time when short-form content often sacrifices substance for speed, Wang’s editorial approach ensures both visual appeal and emotional depth, balancing commercial success with his artistic goals.

Wang’s recurring focus on family bonds and emotional detail sets him apart, blending wide appeal with personal insights. As he looks toward developing feature-length scripts, his commitment to meaningful, engaging storytelling will likely continue to captivate audiences.

Football Meets High Fashion: How Football Stars are Changing Men’s Style

Our Culture Mag & Partners
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Football Meets High Fashion: How Football Stars are Changing Men’s Style

Football today is not just a sport but a cultural phenomenon where every major player becomes an icon shaping styles and trends. The glamor of European football championships and the fame of high-ranking teams open new opportunities for footballers. Players shining on the field now step beyond it, becoming role models. They not only captivate spectators with their football feats but also dictate how a modern man should look, combining athletic power and style.

The Impact of Football Culture on Fashion

Football teams topping the rankings in Europe provide their players with incredible visibility. The secret lies in a simple rule: the higher a football team ranks, the more attention each player and his style attract. This attention has not gone unnoticed by brands, and as a result, footballers are not just becoming cultural icons; they are gaining a key role in the world of fashion.

For over a decade, footballers like David Beckham and Cristiano Ronaldo have been paving the way from stadiums to catwalks. They have shown that athletic skills and style can go hand in hand, infusing fashion with athleticism and strength. However, this trend is not new: remember when Pelé tied his boot before the final match of the World Cup, which became a marketing move that brought considerable money to him and the brand. Spectators saw not just a player but a legend who dictates not only tactics on the field but also style in the stands.

Leading Football Fashion Stars and Their Unique Styles

Today’s players have unique images that inspire millions of men on the streets, in gyms, and in workplaces. Here are a few examples of those who have become not just players but fashion trendsetters.

  • Cristiano Ronaldo – An example of the modern gentleman and classic enthusiast. He can always be seen in perfectly tailored suits, expensive watches, and luxury brand shoes. He promotes a strict, luxurious aesthetic; his style is not just clothing but a lifestyle where details speak of status.
  • Kylian Mbappé – The young generation and streetwear style. He wears sporty hoodies and sneakers, emphasizing his accessibility and freshness, his vision that fashion should be comfortable, not just stylish. This approach appeals to young people who want to be fashionable without spending time on complex outfits.
  • Sergio Ramos – He chooses a bold style with tattoos, bright designer elements, and often eye-catching accessories. His looks are daring and slightly provocative, but that’s Ramos: he combines athletic audacity with fashionable flamboyance.

Collaboration of Football Stars with Luxury and Streetwear Brands

Footballers and fashion brands have found common ground. When stars like Lionel Messi and Cristiano Ronaldo work with Adidas or Nike, it’s not just on-field records that come to the forefront but also lifestyle and style. These are mutually beneficial alliances: brands gain access to a multi-million fan base of fans, and athletes get a platform to expand their influence.

Beckham and his collaboration with H&M have made classic sports style everyday fashion for everyone. Cristiano Ronaldo with Nike promotes luxury sports clothing and accessories. Partnerships with players representing the top echelons of football teams ranking allow brands to strengthen their position as the status is transferred from the player to the product, and from the product to the fans, creating a cult following.

Football Trends in Men’s Style Today

Football culture is making its way into everyday wardrobes, and here are some trends inspired by the sport:

  • Sporty Chic and Luxury Sportswear: From the gym to city streets, tracksuits and hoodies have become the norm in everyday fashion. Now, they are not just functional items but elements that highlight confidence and status.
  • “Off the Pitch” Style: Clothing you can wear to a meeting or shopping while still feeling like part of an exclusive club. Many footballers set the tone for this style by combining casual wear with luxury.

European football championships have contributed to the popularization of the athletic aesthetic, and this style has become mainstream.

Conclusion: Impact on Men’s Fashion as a Whole

What footballers have brought to fashion now influences the entire men’s style. Their looks can now be seen not only in gyms but also on runways, where athletic style is increasingly combined with luxury details. Players from high-ranking teams become examples of how one can look stylish both in life and on screen. This forms a new type of modern man who combines athleticism and luxury, boldness and elegance.

Football stars have changed the perception of men’s fashion; they have combined sport and luxury like no one before them. European football championships and team rankings continue to maintain the visibility of these style icons, allowing them to set new fashion trends. This wave, as practice shows, will only grow, setting a course for a style where sport and fashion go hand in hand, and where men draw inspiration from those who shine not only on the field but also beyond it.

Celebrating Everyday Heroes with Worker Decals

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Celebrating Everyday Heroes with Worker Decals

In every community, skilled workers—from electricians to carpenters—are the backbone of daily life. Recognizing these essential roles through unique forms of self-expression, like worker decals, has become a popular way for individuals to show pride in their profession. These decals go beyond decoration; they represent respect and acknowledgment for tradespeople’s hard work and dedication. Picking some great worker decals that represent you can really help bring life to your home office or hallway. 

The Meaning Behind Worker Decals

Worker decals have become a form of self-identity for those in skilled trades. Each decal tells a story, whether it’s about the trade itself, a particular skill, or the values of the individual. Often found on toolboxes, trucks, and hard hats, these decals allow tradespeople to connect with their peers and showcase their dedication.

Decals range from simple, straightforward designs to more detailed illustrations representing specific trades, such as plumbing, electrical work, and construction. They serve as a reminder of the pride and honor many take in their jobs, creating a sense of community within the trades.

Popular Applications for Worker Decals

For tradespeople, worker decals are more than just stickers—they’re badges of honor that can be displayed in various ways:

  • Vehicles: Many choose to place decals on their vehicles, transforming a truck or van into a rolling tribute to their work.
  • Toolboxes: Adding decals to toolboxes personalizes essential equipment, making it easy to identify on busy job sites.
  • Work Equipment and Gear: Hard hats and other personal protective gear often feature decals that not only add a unique touch but also allow workers to identify with their trade and specialty.

Choosing Quality Decals for a Lasting Display

Durability is essential for worker decals, as they need to withstand the rigors of daily use and various weather conditions. High-quality vinyl decals are a top choice for tradespeople because they are both durable and fade-resistant. Decals made with UV-resistant materials are especially popular, as they maintain their appearance even after prolonged exposure to the sun and elements.

Why Worker Decals Are Gaining Popularity

The rising popularity of worker decals reflects a cultural shift towards honoring trades and skilled labor. By proudly displaying symbols of their trade, workers build camaraderie and pride within their industry. These decals provide a sense of identity and recognition, reminding people of the invaluable services tradespeople offer every day.

Conclusion

Worker decals are more than decorative items—they represent pride, dedication, and identity within skilled trades. Whether on a toolbox, vehicle, or hard hat, these decals celebrate the essential roles of tradespeople and foster a sense of community within the industry. Choosing durable high-quality decals for your home, ensures that this expression of pride lasts, showcasing the spirit of everyday heroes in our communities.

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