CHVRCHES vocalist Lauren Mayberry has released a new song called ‘Something in the Air’. It’s set to appear on her forthcoming debut album Vicious Creature, which will be out “later this year,” according to a press release. It follows previous singles ‘Change Shapes’, ‘Shame’, and ‘Are You Awake?’. Check it out below.
“‘Something in the Air’ is a song that really came out of nowhere,” Mayberry explained in a statement. “I was in London finishing another song with my friend, co-writer and producer Dan McDougall. We were taking a break in the shared kitchen in the studio complex when a pretty iconic British musician, who I won’t throw under the bus here, came in and started making conversation about electricity, 5G and how it’s making us all sick. Dan and I went for a walk around the block before going back to the studio and were unpacking those theories, and why people want to believe them – and the chorus lyric just appeared.”
The history of the Indian football team’s presence on the international stage, marked by its pinnacle moments and significant downturns, shares a significant link with the Olympic Games. Remarkably, the first international football match played by independent India took place at the 1948 Summer Olympics in London. Hence, any comprehensive discussion regarding the evolution of the Indian national football team necessitates mentioning their participation in the Olympics. Between 1948 and 1960, India consistently qualified for the Olympics, marking as the golden era of Indian football. Alongside their Olympic achievements, this era also saw India establish itself as a formidable force in Asian football, securing gold medals at the Asian Games in 1951 and 1962.
Indian Football Team at the 1948 London Olympics
The Olympics, a global sports spectacle, draws millions of viewers and athletes worldwide, celebrating unity and athleticism. In contrast in the year 2023, casino games have also gained immense popularity, offering convenience and entertainment, driven by technology and accessible from anywhere.
Marking its Olympic debut, the Indian football team participated in the 1948 London Olympics, a momentous occasion as it came just a year after India gained independence from British rule. Competing in the Summer Games in the former colonizer’s capital added a layer of significance to the event.
Beyond the prevailing political and societal contexts, the tournament’s first-round match against European powerhouses France held additional importance as it was India’s inaugural international match as an independent nation.
On July 31, 1948, under the leadership of the dynamic Talimeren Ao and coached by Balaidas Chatterjee, the Indian football team, representing the tricolour for the first time, stepped onto the field at East London’s Cricklefield Stadium, greeted by a crowd of 17,000 spectators.
Indian Football Team at the 1952 Helsinki Olympics
Four years subsequent to their debut, India faced a challenging match at the Helsinki Games. The encounter was memorable but for unfavourable reasons. India experienced a significant 10-1 defeat against Yugoslavia, the eventual silver medallists, marking the heaviest loss in India’s international football history. Despite this, it’s worth noting that the Yugoslavian team boasted several World Cup players, including Bernard ‘Bajdo’ Vukas, one of the greatest Croatian footballers and athletes of the 20th century. Vukas, along with other notable players, significantly contributed to India’s overwhelming defeat, with Ahmed Khan scoring India’s sole goal.
Indian Football Team at the 1956 Melbourne Olympics
During the Melbourne 1956 Olympics, India, led by Coach Syed Abdul Rahim and Captain Samar Banerjee, created a historic milestone. Initially scheduled to face the formidable Hungary, India advanced due to Hungary’s withdrawal in response to the Hungarian Revolution. In the quarter-finals against host nation Australia, India secured a 4-2 victory, with Neville D’Souza achieving the first-ever Olympic hat-trick by an Asian player and Krishna Kittu adding the fourth goal.
Indian Football Team at the 1960 Rome Olympics
The Rome 1960 Summer Games marked India’s last Olympic football appearance. Drawn in a challenging Group D with Hungary, France, and Peru, India faced tough competition. Despite a valiant effort led by the iconic trio of PK Banerjee, Tulsidas Balaram, and Chuni Goswami, India suffered a narrow 2-1 defeat against Hungary, which featured several future stars. India demonstrated resilience, pushing Hungary harder than any other team in the Group stage. In the subsequent match, India achieved a commendable 1-1 draw against France, showcasing their growing prowess on the international stage.
Two years prior, the French team had secured third place at the World Cup. In the concluding group match, India faced defeat against Peru with a score of 3-1, hindering their advancement to the knockout stages. Tulsidas Balaram netted the only goal for India in this match. This encounter marked the end of the Indian football team’s participation in the Olympics.
As an artist, Minglin He has made remarkable achievements through her delicate and sensitive perceptions, cross-cultural perspectives, and in-depth explorations of memory and desire. Her series of artworks ‘Tiles As Flowing Memories Shore’ has been widely featured in art exhibitions worldwide in the past two years. Minglin’s works not only demonstrate the profound aesthetic enjoyment of art but also show that art can be like a blanket that warms and soothes the human soul and touches people’s deepest emotions and memories.
For the artist Minglin, the tiles found in old houses are the most striking visual graphics in the domestic space. The various tiles enable each domestic space to evoke a distinct sensibility, each imbued with unique memories. Aristotle discusses the properties of memory, arguing that ‘Memory is neither perception nor judgment, but a state or affection of one of these, conditioned by the lapse of time.’ This triggers a series of associations between space, memory, objects, and emotions for Minglin, and allows her to continue to explore connections and boundaries.
The famous French philosopher Henri Bergson elaborates in his book Matter and Memory that ‘Memory is the resistance of people to the logic of time and space. The subtle cracks between the past and the present constitute memories. Therefore, memory is a double movement.’ The appearance of a concrete object implies the emergence of a node of association between memory and emotion. The narrative nature of the object itself gives it a grandiose world of infinite depth, and it usually can trigger and pull memory. Memory, in turn, is the equivalent of the visual dimension, which underpins a particular emotion and feeling we have towards the object. In Minglin’s series of paintings Tiles As Flowing Memories Shore, she uses tiles as nodes to explore the cracks of memory and dismantles tiles from the objective world. She reorganizes them freely in the subjective world, to explore the possibilities of objects beyond the established reality.
In this series of paintings, Minglin uses visual and installation art to simulate and recreate memory. Following the guidance of Mnemosyne, the goddess of memory, she reassembles the ‘fragments’ of tiles, memories, and emotions in space and time, exploring their boundaries and providing a visual interpretation. The symbols of Mnemosyne like the fountain, the spring, and the Throne of Mnemosyne become indispensable elements in this series of paintings. The poems of Mnemosyne like ‘On the right side of the dwelling of Hades, you will see a spring, where a white swan stands not far away: do not go near this spring but beside it, and you will see another spring, where the clear water flows from the marshes of Mnemosyne: the gardeners watch over it.’ has also become an integral part of her paintings.
Artist Minglin He not only creates a series of paintings in this work but also interactive art installations to better trigger the audience’s empathy. This art installation allows audiences to explore and engage with the intricate relationships between memory, objects, and individuals in a more profound manner. ‘Tiles As Flowing Memories Shore’ breaks through the conventional symbolism and transcends traditional painting, touching on the ambiguous zone between the visible and the invisible, the spoken and the unspoken. This multi-layered art experience makes the viewer not only an audience but also a participant in the process of intertwining memory and reality.
Raz Vape is one of the most popular brands in the world of disposable vapes today. Buoyed by its eye-catching designs and intriguing flavor names like Tiffany and Ruby, Raz’s popularity has led many first-time vapers to choose the brand – and maybe that’s what you’ve done as well. A disposable vape from Raz Vape is a great introduction to vaping, and a large part of that is because using the device is so self-explanatory – just puff and enjoy.
One thing that your vape can’t do, though, is tell you when it’s out of e-liquid – and that’s what we’re going to cover in this guide. How do you know when your Raz Vape is empty? We’re about to tell you everything you need to know.
How to Tell When Your Raz Vape Is Empty
We’ll begin this guide by answering the question that brought you here. Stick around, though, because understanding when your device is out of vape juice is only half the battle.
When your Raz Vape is empty, you’ll get a harsh, burnt flavor every time you puff on it. The burnt flavor will persist even if you put the device down for a while to let the e-liquid redistribute itself.
You’ll generally find that the burnt flavor doesn’t appear suddenly. Most of the time, you’ll notice a major reduction in your device’s vapor output and flavor quality long before the device is completely dry.
Waiting for your vape to start tasting burnt at some unknown point in the future doesn’t exactly make it easy for you to plan your purchases. It’s also not terribly user friendly, which is somewhat ironic since disposable vapes are supposed to be the easiest vapes for beginners to use. That’s why Raz and other manufacturers have begun to offer vapes with a new feature – a smart display – that gives you a better idea of what’s going on. Modern vapes like the Raz DC25000 have this feature, and maybe that’s the device you’re using right now. We’ll discuss smart screens next.
What If You’re Using a Raz Vape with a Screen?
If you’re using the Raz Vape DC25000 or another vape with a screen, you’ve probably noticed that the screen has a meter intended to represent your device’s e-liquid supply. So, how exactly does the screen work? If you have a vape with a screen, you should treat the meter as more of a general guideline than an exact representation of what’s in your device. We’ll explain why.
Although many new disposable vapes are now including smart screens as standard equipment, the truth is that your vape doesn’t actually have any way of knowing how much vape juice is in the device. Instead, it just uses an algorithm that makes the meter tick down as you vape. The algorithm is designed to let you know approximately when you’ll need to replace the device, but it’ll never be exact.
The fact that your Raz Vape is essentially guessing about its e-liquid supply means that it’s possible to encounter a situation in which your device says that it’s empty when it actually isn’t. This is common, in fact, because manufacturers usually tune their algorithms to be conservative. After all, you’d be pretty unhappy if your Raz Vape was empty, but the screen said that you still had e-liquid left.
Since your device’s e-liquid meter isn’t exact, you should treat it as a tool that gives you advance warning when your vape juice supply is getting low. Your vape may not be empty exactly when the meter says it is – but if the meter is low, you’ll definitely need to replace your device soon. The only way to know for sure when your Raz Vape is empty, though, is by paying attention to the flavor.
Does a Raz Vape DC25000 Really Deliver 25,000 Puffs?
It’s possible that you’re looking for information about how to know when a Raz Vape is empty because you have a high-capacity device like the Raz DC25000, which is advertised to deliver up to 25,000 puffs. Maybe you think you haven’t quite used the device that long, and you’re concerned that it may not have actually delivered on its claims.
Here’s what you need to know about disposable vapes and their puff counts.
A disposable vape delivers up to the number of puffs stated on the box. The puff count isn’t a promise because the number of puffs your device produces is largely determined by how you vape. The puff count is mainly intended as a general guideline that helps you compare different devices.
When manufacturers state the puff counts for their devices, they do so with the assumption that each of your puffs will be just one second long. Try timing a few puffs with a stopwatch. If your puffs are longer than one second, you’ll need to adjust your expectations accordingly.
If you’re using a device that offers more than one vaping mode, don’t forget that using a mode that produces bigger clouds will exhaust your device’s e-liquid supply more quickly.
The most accurate way to compare different disposable vapes is by looking at how much e-liquid they contain – not their puff counts.
How to Make a Raz Vape Last Longer
Now that you know everything about how to tell when a Raz Vape is empty, you might be left with one remaining question: How can you make your vapes last longer? The answer is that if you want to make a Raz Vape last as long as it can, you need to start thinking more like a smoker. We’ll explain.
When you smoke a cigarette, each session has a distinct beginning and end. You know when your session is over because you put the cigarette out – and you don’t immediately light another one because you don’t want to run out too quickly.
Vaping, on the other hand, doesn’t automatically limit your consumption in the way that smoking does – so you’ll need to do that yourself. Try to use your Raz Vape around 20 times per day and limit yourself to around 10 puffs per session. That way, you’ll consume roughly the same amount of nicotine that you would have consumed as a smoker. Your vapes will also last noticeably longer.
fantasy of a broken heart is the New York City-based project helmed by Al Nardo and Bailey Wollowitz, who met in 2017 and started playing together in bands like Animal Show and Sloppy Jane. They’re also permanent live members of Artist Spotlight alumniWater From Your Eyes (the duo of Nate Amos and Rachel Brown) and (Amos’ other project) This Is Lorelei, and the pair began writing songs before fantasy solidified as a band. Their reference points, like the songs collected on their debut album, are chaotically disparate yet meticulously arranged: 70s prog rock, bedroom pop, jazz, freak folk, and musical theater are all filtered through and vie for space on Feats of Engineering. At once indelibly hooky, wondrous, and unpredictably bombastic, the record finds the sweet spot between these dramatic styles and largely inscrutable lyrics, weighty emotions and a winking sense of humour. The front of the album is loaded with some of its most alluring and memorable track before spinning out chaotically and cryptically on the second half: “Nobody knows what you’re talking about,” they repeat over and over; at the same time, if you know you know. “Catharsis of the heart/ Is a personal affair,” Wollowitz intones on the final track, but as a duo, fantasy open so many paths towards it.
We caught up with fantasy of a broken heart for the latest edition of our Artist Spotlight series to talk about the origins of the band, the influences behind Feats of Engineering, playing live, and more.
Who’s in your live lineup right now? I’ve seen that Nate Amos and Margaux have both joined you on tour.
Bailey Wollowitz: We’re performing as a trio right now – the two of us and Nate. We’ve been expanding and contracting the lineup this year. In Brooklyn, the band is sometimes a four, five, or six-piece, and Margo’s on bass for that. For this run, we’re just doing the three of us because of some scheduling, but also to see how it pans out because touring is pretty expensive. But Margaux is one of the grooviest bass players of all time. I feel like she really gets our music, even though it sounds nothing like the music she writes herself. Well, it doesn’t sound nothing like it, but you know what I mean.
Al Nardo: How long has she been playing with us?
BW: I think her first gig was almost three years ago at this point. She’s just phenomenal. I think just having the experience of playing in a lot of projects informs our own music a lot, so it makes perfect sense that with Nate and Margaux, who are also people who play in a lot of other projects, the whole thing really gels together. So many people played on our record, a ton of friends, and I really enjoy the spirit of the band being an open door, just getting to rock out with our friends, but having the music be the centerpiece and knowing that it’s going to sound and feel different with different people playing in the band.
Given that supporting other people’s bands inspires your own music, how do you know when to focus or reserve space for fantasy of a broken heart in a way that feels intentional?
AL: Particularly with Nate, we’re running a very interdependent calendar. It’s a symbiotic thing where, especially this year, we’ve developed a mutual understanding of when it’s time to do what. And we’re always busy.
BW: It’s like, we know when we have a month off from Water From Your Eyes…
AN: So we should record stuff at that point. Or, we get back from this tour this week, and then we have four days before leaving for another band’s tour – those four days need to be practice for the upcoming thing. So that determines what’s happening at any given time, and it’s been pretty functional.
BW: With Nate, the recording and live process for both of us are pretty similar in terms of how we interact with each other. We’ll all be on tour, we’ll come home, and Nate will go to his studio to work on the next Water or Lorelei project, and we’ll be together working on fantasy stuff. We just hang out with each other all the time, so we’re listening to what the other is working on, hearing about plans, and giving ideas, but fundamentally, we’re in our own spaces. And then it’s like, “Alright, here’s the song, Nate. You have to learn how to play this now,” or vice versa.
What were your ambitions individually upon arriving in Brooklyn, and how did they shift when things got going with fantasy?
BW: I think we came from very different places into New York. I’m from the suburbs north of New York City, so I grew up around New York City my whole life. I moved to play with a childhood friend, we had another band together. His name’s Sid Simons, he put out a really good record last year. I think for me personally, I always had a sense that this is what I wanted to do. I was a little kid dreaming of being a rock musician or whatever, in a really concrete way where, for better or for worse, at times it was like, “I don’t think there’s anything else that I can do.” Moving to Brooklyn was definitely like chasing the dream in that way, but certainly, upon arrival, I don’t think I had the confidence to be pursuing anything of my own songwriting at all. I was always writing stuff, but I was always more comfortable just playing in other groups, including some collaborative groups where I was contributing to the writing. But I think I had a very genuine sense, both of a lot of confidence when I was younger, but also some sort of earning your stripes thing, where I very much sought value in, or a necessity even, to be under someone else’s wing to figure out how it worked.
AN: I moved to New York to study journalism and instead found myself playing music, which was not the plan. [laughs] I’d been in a punk band in high school and joined a punk band in New York, for social reasons; I wanted to meet people. I joined a band off of Craigslist because I didn’t know anyone when I moved. I was 19 at the time, and I saw that this young girl was looking for a bassist, and that kind of stood out from the dads being like, “We want a drummer for our cover band. Must have practice space. Must be good.”
BW: “We sound like Pink Floyd, Arctic Monkeys, and The White Stripes.”
AN: That kind of changed my life by accident. But I would say that us starting Fantasy was really born out of: we were playing in a couple of bands together, we were living together, we started jamming, and neither one of us at that time was primarily a guitarist. Neither one of us was playing guitar in any bands in a significant way, so I feel like we were exploring songwriting and guitar-playing together in this way that felt very new at the time. That changed things for me because I liked playing in these punk bands, and that’s how I learned how to play music, but I don’t think that the traditional song format of that was so much something I enjoyed listening to as much as it was just a functional entry point for playing. We started writing these more complicated dual guitar parts, and that opened my mind up a little bit.
BW: Yeah. I came out of a punk scene in my hometown, too. The first band that we played in was just straight punk and a little bit of a garage thing; I was playing drums, Al was playing bass in that band. I think we bonded right away just liking a lot of different music the first time we hung out, we were listening to all sorts of stuff, and definitely none of it was punk, even though we met at a punk show. What Al was saying, getting into playing guitar together – a lot of my favorite stuff in music is bands that have this really nebulous guitar flow that loses the traditional lead guitar, rhythm guitar person. Specifically Palm and a lot of Deerhoof stuff, which were at the time the bands in the New York and Philly scene that were finding the most success playing the weirdest stuff. The philosophy of, instead of one person playing a six-note chord, it’s like two parts where each person is only playing one or two notes at a time, and those two things together make the whole thing. I think that was really a revelation as we started writing songs.
Over the past five or six years, since we started approaching fantasy as an idea, all the punk stuff has come back into it. It feels like a very happy gelling of all the stuff that we like to listen to and to play. It’s been cool, as we start to play live more, finding the balance between the sometimes pristine nature of the recordings – which are inspired from a totally third influence, which is just the classic, really gorgeous-sounding recordings, like Steely Dan or jazz recordings which are very clean and dry, and the song speaks for itself, and the arrangement is endless – and playing live. I think finding our sound as a band has been about recognizing that the sound can be a lot of different things, and that the core of the thing is really all that matters: just knowing that the song itself means something to you and that you can play it a thousand different ways.
There also seems to be a musical theater influence amidst everything else. Can you talk about what there is for you in making experimental music that has a theatrical or even operatic bent to it? What do you feel like that element serves on the album?
AN: It’s so funny because I feel like we worked on the music in this very insulated way for a really long time. In starting to have the music be heard by people, a lot of people have mentioned this theatrical element that I personally was not perceiving in what we were doing at all. So it wasn’t intentional, or at least the parts of it that are theatrical, maybe that wasn’t the exact thing that was trying to be hit specifically.
BW: Yeah, I think there’s something to be said about how you often don’t recognize what the mission statement is while you’re actually doing it, or the mission statement is something different once it is heard by other people. As we work on recording new material right now and are playing some new stuff live that’s not on the album, looking back at the Feats of Engineering stuff, I’m like, “Oh yeah, this is sort of our rock opera album.” I don’t think the next record we make is gonna sound like this one at all. We always described Feats as a story sort of record, but maybe more in a song cycle, disjointed way where there’s some sort of narrative thread inside of the thing for people to follow. But I reckon the reason why even now I can look back at it and recognize that there’s a musical theater element to it is that I was a musical theater kid in high school. [Bailey laughs] Which, by the time we made the record, it felt like I was very divorced from that being an influence at all. But it absolutely was a record written by, at the onset of some of these songs, 22-year-old us, which means that whether I was aware of it or not, I was at the time someone who was not too many years divorced from that.
How did you land on that line, “Nobody knows what you’re talking about,” as the sort of emotional thesis of the record?
BW: I think “Nobody knows what you’re talking about” is exactly the conveyance of what we were talking about before, which is like, it doesn’t matter what the song means to us – it doesn’t matter at all how we feel about it because someone listening to the song is gonna just take away whatever they feel from it. On an emotional level, but also on a textual level. A lyric to me that is, like, very clearly about this one specific day where something happened to us is just totally intangible to the listener, and the listener can try to decide what they think it means, or maybe that line just doesn’t even really stick out to them at all. ‘Tapdance 1’, which is just that line repeated over and over and over again, is meant to be sort of a debriefing from the first half of the record, which is a lot of these heavy personal songs. And then ‘Tapdance 2’, with the long spoken monologuing, is like, “And here are all the things that nobody knows about!” It’s just a laundry list of maybe us stepping outside of the emotional world of the record and positioning how I perceive that someone else would be perceiving the thing.
‘Tapdance 2’ is my favorite song to play live on this tour. Just as a song, it’s really fun to play, but I think because it’s not out yet, for people to hear amidst a lot of other material that is familiar to people now who are coming to the gigs, there’s just some lines in that song that I feel crazy saying on stage.
Like the one about reading Pitchfork reviews?
BW: Exactly. Because I’m like, “But you’re here because you read about us on Stereogum,” you know? Some of that tongue-in-cheek stuff about the state of music itself – obviously, we’ve been talking for an hour, we love to talk about that sort of thing. When it was written, that line was coming out of a place where we at that point in time already had so much interaction with music journalism – just from being in bands, and Al’s worked in music radio. The too many Pitchfork reviews comment, I probably I felt motivated to say something like that just to call in the fact that I think around the time another band we played in had gotten a Pitchfork review for the first time, and it was funny to see.
That being said, when we wrote it, fantasyjust didn’t exist in that way at all. I’m excited for the record to come out and for people to hear that sort of thing, but that line means something different because now we, as people and as this band, do exist in the cultural fold of what I’m talking about. Which was very different than the sentiment it originally conveyed, which was throwing some sort of neutral acknowledgment at the fact that we are making a record in a world where it will be consumed.
And perceived.
AN: Yeah, perceived. I feel like we were really lucky to get to make this album and doing a lot of the writing during quarantine – we just got to write a lot of it for each other, so it’s very different to think about all of it through the context of how other people are thinking about it.
Do you mind sharing one thing that inspires you about each other?
BW: Al is really good at – and by good at, I mean just naturally does it, doesn’t have to think about it too hard – making a total stranger feel very welcome and at ease. That translates in a lot of ways, but recognizing some insecurity in myself as a musician starting out, where I was really anxious to be perceived in any way at all – definitely over the years, I’ve gotten more social, but I’m a pretty relatively antisocial person – and being welcomed into the first band that we played together when we first met, being really seen and heard as a person between us personally meant quite a big deal to me. But outside of myself as well, both generally speaking but also as a musician, I don’t know if I’ve met anyone else that has the same charisma and ability to tap into where someone else is at and really enjoy that with them as Al. Sometimes we’ll meet a random person, and I feel like within a couple of seconds, we’re really good friends.
AN: Thanks, Bailey.
BW: No problem, yeah.
AN: That’s really nice. It’s hard for me to even unpack the ways that I feel inspired by Bailey, because more so than any band or any reference I could be trying to make, Bailey has completely shaped the way that I make music. And is definitely my number one inspiration when we’re making stuff together, or even when I’m doing things in my own corner. But Bailey has a really good sense of humor, and that inspires me. The most important thing, for me, in our creative processes, is that we laugh a lot. And Bailey makes me laugh a lot.
BW: Yeah, you make me laugh a lot too. I think so much of our relationship and friendship is based upon the premise that things are pretty serious all the time, and we’ve definitely been in some environments where things can be pretty severe. Severity is not a bad thing, nor should it be explicitly scary or something, because I think the people that are most inspiring to me, and who I recognize are the most “in it to win it” or whatever, are the people that take everything really, really seriously. But within that, you have to step back and giggle that it’s funny that you could be so severe about something as sort of floating in the wind as being in a rock band to begin with. [Bailey laughs] Yeah, we laugh a lot.
This interview has been edited and condensed for clarity and length.
Phil Elverum has shared a new song from Night Palace, the first new album under the Mount Eerie name in five years. It’s called ‘I Saw Another Bird’, and it follows the previously unveiled songs ‘Broom of the Wind’ and ‘I Walk’. Check it out below.
“Behind the dry smirk of the title (sequelling out from A Crow Looked at Me) there are huge feelings that get opened” Elverum explained in a statement. “We are ridiculous little people toiling on the ground, but the sublime darts around above us always. We can pause, chill, and resume the conversation with the big unknown. This song tells how, in a toe tapping way.”
Florist have returned with a new single called ‘This Was a Gift’. Check it out below.
“’This Was A Gift’ is a love song about enduring difficult seasons of life with the people that we keep close,” the band’s Emily Sprague explained in a statement. “It is a musical push and pull that mirrors and describes the process of becoming vulnerable to heartbreak and loss that leads to the acceptance of eventual endings and appreciation of community. The band developed and grew with this song over the course of two years of live touring before committing it to recording, further deepening the roots of its meaning.”
“We don’t enter our collaboration environment trying to leave our personal stuff at the door,” Sprague added. “We always bring it in and we struggle and thrive while trying to swim through it.”
Waxahatchee has released a new song called ‘Much Ado About Nothing’. It marks Katie Crutchfield’s first new music since the release of her album Tigers Blood earlier this year. The track features Crutchfield on vocals, MJ Lenderman on acoustic and electric guitar, Brad Cook on bass, Phil Cook on piano, and Yan Westerlund on drums. Check it out below.
Bartees Strange has announced his third LP, Horror. The follow-up to 2022’s Farm to Table is due for release on February 14 via 4AD. Today’s announcement comes with the release of the new single ‘Sober’, which follows the previously unveiled ‘Lie 95’. The track is accompanied by a video from director Ricardo Betancourt that draws inspiration from Sly & the Family Stone’s 1974 Soul Train performance. Check it out below and scroll down for the album cover and tracklist.
Strange produced ‘Sober’ with Jack Antonoff, Yves Rothman, and Lawrence Rothman. “This song is about falling short in a relationship, over and over and drinking because of it,” he explained in a statement. “I think this is something a lot of people can probably relate to. Being in love, but not being the best at showing it or feeling successful within it. And being afraid that this is something you’ll just always deal with because you never really saw a better example of how love works.”
Strange began working on the album at his home studio, laid down parts of it during a session with Yves and Lawrence Rothman, and finished it with Antonoff. Strange previously contributed to the self-titled album by Antonoff’s band Bleachers, which came out earlier this year. He was also featured in the soundtracks for Apple TV’s The New Look, produced and curated by Bleachers, as well as A24’s I Saw the TV Glow.
“In a way I think I made this record to reach out to people who may feel afraid of things in their lives too,” Strange reflected. “For me it’s love, locations, cosmic bad luck, or that feeling of doom that I’ve struggled with for as long as I can remember. I think that it’s easier to navigate the horrors and strangeness of life once you realize that everyone around you feels the same. This album is just me trying to connect. I’m trying to shrink the size of the world. I’m trying to feel close – so I’m less afraid.”
Horror Cover Artwork:
Horror Tracklist:
1. Too Much
2. Hit It Quit It
3. Sober
4. Baltimore
5. Lie 95
6. Wants, Needs
7. Lovers
8. Doomsday Buttercup
9. 17
10. Loop Defenders
11. Norf Gun
12. Backseat Banton
Ahead of the release of his debut solo album, The New Sound, this Friday, black midi’s Geordie Greep has shared one more preview, ‘Blues’. It follows the lead single ‘Holy, Holy’. Check it out below, along with a live performance video filmed at TV Eye in Brooklyn, New York.
