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A Journey Through Objects and Origins: Xinrui Qiu’s Identity Formation

Xinrui Qiu’s artistic practice is a striking reflection on the complexities of identity, both personal and collective. Her work gracefully oscillates between the deeply personal and broader societal themes, often inviting viewers into a space that feels simultaneously intimate and expansive. With an MA in Photography: The Image and Electronic Arts from Goldsmiths, University of London, and a diverse exhibition history that spans the globe, Qiu’s creations are enriched by her academic background and cultural experiences. In her pieces “Nowhere But Home” and “I Thought You Would Like It,” Qiu examines universal questions of belonging and self-conception, yet through vastly different approaches: one, a meditative reflection on cultural displacement, the other, an exploration of the seemingly lighthearted but profound act of gift-giving. In both, she pushes the audience to look deeper, encouraging a more nuanced engagement with the intricate layers of identity.

Nowhere But Home (2023, ongoing, Analogue Photography)

In “Nowhere But Home,” Qiu delves into the unsettled feelings and complexities that come with a diasporic identity, with a particular focus on young Chinese individuals who find themselves alienated both at home and abroad. As political and social conditions in China grow more restrictive, many young people are compelled to seek new opportunities overseas. Yet, as Qiu powerfully conveys, even in foreign lands, these individuals often find themselves in a state of in-betweenness—unable to fully integrate into their new surroundings, while simultaneously feeling distanced from the cultural and emotional ties of their homeland.

Her use of analogue photography serves as more than just a stylistic choice; it adds a sense of timelessness and fragility, enhancing the emotional depth of the work. The soft tones and muted colors of the photographs mirror the existential struggles many in the diaspora face as they attempt to reconcile their identities across different cultural landscapes. The title “Nowhere But Home” is a poignant paradox—suggesting both the impossibility of finding a true home and the unshakeable pull of one’s roots.

What makes this work particularly compelling is its quiet yet profound examination of the emotional weight of displacement. Qiu’s ability to structure and explore this paradoxical space allows her to offer a deeply personal reflection on her own experience of diaspora. At the same time, she invites viewers to consider the broader human experience of belonging, alienation, and the universal search for identity—a theme that resonates even more strongly in today’s increasingly globalized world.

I Thought You Would Like It (2022)

“I Thought You Would Like It” takes a markedly different approach to the theme of identity, with Qiu focusing on the ways personal relationships and material objects shape our sense of self. The work, a concertina book format, is itself a playful nod to the unfolding and evolving nature of identity. Inside, Qiu juxtaposes images of birthday gifts she received from friends alongside handwritten notes and wishes, each offering a glimpse into how her friends perceive her.

The title hints at the subtle assumptions embedded in the act of gift-giving—we project our interpretations of someone onto the items we choose for them. It’s a simple act on the surface, but Qiu reveals a more intricate dynamic: each gift reflects not only the giver’s understanding of Qiu, but also how she may have shaped those perceptions, whether intentionally or not. This interplay between self-presentation and external perception lies at the heart of the piece, as it challenges viewers to think about the fluid nature of identity and how it is constantly molded by others’ views.

Though personal in tone, “I Thought You Would Like It” also speaks to larger social dynamics, particularly the ways materialism and consumer culture influence our relationships and self-image. Qiu’s inclusion of poetic and, at times, absurd phrases such as “Having sex with yourself is the very first step to fuck the world” adds a layer of humor and irreverence. These phrases offer a counterbalance to the more intimate elements of the work, encouraging viewers to reflect on the contradictions of human connection and the often bizarre ways we try to make sense of ourselves and others.

The combination of text and image creates a layered experience for the viewer, drawing them into an intimate yet playful space where material objects become metaphors for deeper social dynamics. The concertina format itself reflects the unfolding nature of identity, with each page revealing new dimensions of how we see ourselves and are seen by others.

Xinrui Qiu’s work masterfully navigates the themes of identity, belonging, and perception, exploring these concepts through very different yet interconnected lenses. Both “Nowhere But Home” and “I Thought You Would Like It” ask viewers to reflect on their own experiences of identity—whether it’s through the lens of cultural displacement or personal connections. With her thoughtful use of analogue photography and the innovative concertina book format, Qiu invites the audience into a conversation that feels both deeply personal and universally relevant. Her ability to weave together the personal and the collective is what makes her work not only insightful but also profoundly relatable.

R.E.M., MJ Lenderman, Sharon Van Etten, and More Contribute to 135-Track Western North Carolina Benefit Comp

R.E.M., Sharon Van Etten, MJ Lenderman, the War on Drugs, Angel Olsen, Feist, Wye Ok, Waxahatchee, and more than 100 other artists contributed unreleased songs and live recordings to a new compilation called Cardinals at the Window. The download-only collection benefits victims of Hurricane Helene in Western North Carolina, with proceeds going directly to three organizations doing relief work in the communities most impacted by the natural disaster: Rural Organizing and Resilience, BeLoved Asheville, and the Community Foundation of Western North Carolina. Buy the compilation here, and find the full tracklist below.

Cardinals at the Window was compiled by musician and community organizer Libby Rodenbough, New Commute founder David Walker, and music journalist Grayson Haver Currin, with help from Shirlette Ammons, Martin Anderson, Anna Morris, Cory Rayborn, and Rusty Sutton. Sylvan Esso’s Nick Sanborn and Asheville native Clay Blair offered free audio engineering work.

Other artists on the compilations include Jeff Tweedy, Hotline TNT, Karly Hartzman, Phish, the Mountain Goats, Lonnie Holley, Fleet Foxes, Indigo De Souza, H.C. McEntire, Kevin Morby, Little Brother, the Hold Steady, Tim Heidecker, Archers Of Loaf, Iron & Wine, the Avett Brothers, King Gizzard & the Lizard Wizard, Jason Isbell, Real Estate, and many more.

“There were just so many folks who, like us, had witnessed the destruction of these holy places from the outside and felt their hearts trying to break out of their chests,” Rodenbough said in a statement. “It was instant, the way people signed on. They also feel what I feel, that these mountains are the cradle of some deep and ineffable magic.”

“In the aftermath of a ‘natural disaster,’ it’s important to situate this manifestation of ecological collapse within a history of inequitable exploitation of land and people,” Rodenbough continued. “This is a region that has suffered in the name of human progress for a long time. I hope we’re going to take this opportunity to start building a different kind of world in Western North Carolina and beyond.”

Cardinals at the Window Tracklist:

1. The War on Drugs – Harmonia’s Dream (Live from New York)
2. Angel Olsen – Can’t Wait Until Tomorrow (Live At Echo Mountain)
3. Sluice – Hard Times
4. S.G. Goodman feat. Bonnie “Prince” Billy – Nature’s Child
5. Nathaniel Rateliff & the Night Sweats – Smilin’
6. Rosali – Hey Heron
7. Luke Schneider – Vapor Ascensus
8. Fleet Foxes – Blue Ridge Mountains (Live from The Spring Recital)
9. Floating Action – We Live Inside A Dream
10. The Dead Tongues – Daylily (Demo)
11. Lambchop – Is There a Doctor in the House?
12. R.E.M. – King of Birds (Live in Greensboro, 1989)
13. Little Brother feat. BeMyFiasco x Denaine Jones – The Way
14. Yasmin Williams – Untitled
15. Setting – Night Divers
16. Magic Tuber Stringband – Flotsam
17. Weirs – The Carolina Lady
18. Tyler Childers – Bus Route (Live)
19. Waxahatchee – Wrecking Ball
20. Gillian Welch and Dave Rawlings – Hashtag (Live from Newport Folk Festival 2024)
21. Oak City Slums — Electric Trible
22. Shirlette Ammons – Corner Pocket (Small Pond Sessions)
23. Helado Negro – Running (Live at Drop of Sun)
24. William Tyler – Near a Thousand Tables
25. Sylvie – On The Wind
26. John Andrew & The Yawns – Talking To Me
27. Keven Louis Lareau – Your Tender Loving Care
28. Spencer Cullum, Sean Thompson & Rich Ruth – Levon’s Bark
29. Geologist & D.S. – Route 9 Falls
30. Daniel Bachman – Lovers On The Turnpike
31. The Avett Brothers – Cheap Coffee (Live)
32. Terry Allen & The Panhandle Mystery Band – Rainy Day
33. Jason Isbell – Children of Children – Live At The Ryman 10/15/17
34. Dawes & Hiss Golden Messenger – Haunted House
35. Deer Tick – Time To Leave
36. The Nude Party – Fallin’ Rain
37. Tim Heidecker – Property (Live at Dynasty Typewriter)
38. Chuck Johnson – Arctic Halo
39. Laraaji – Music Laughter Episode Track 78
40. Universal Light – Minor Suite
41. Feist – Borrow Trouble (Demo)
42. Kevin Morby – American Holly
43. Jeff Tweedy (feat. Karly Hartzman) – How Hard It Is For Desert To Die (Live from Solid Sound)
44. Mipso – Cornfields
45. Danny Paul Grody – Distant Blue
46. Real Estate – Pink Sky
47. Real Companion – Long Leaf Overtime (iPhone Demo)
48. Sam Evian – Long, Long, Long
49. The Go-Betweens – Ashes On The Lawn
50. M. Duffy – Easy and Down
51. Indigo De Souza – Hungry & Croaking
52. BeMyFiasco – Take My Strong Hand
53. Marta Salogni – For Vibraphone and Tapes
54. Pachyman – NYC
55. Skylar Gudasz – Lean Closer To Me Now
56. Lou Hazel – Bulldog
57. Blue Cactus – The Gift (Demo)
58. Nathan Bowles – Gadarene (Tarboro)
59. Drive-By Truckers – Baggage (Live, 2018)
60. MJ Lenderman – Pianos
61. American Aquarium – Crier (Live at Red Rocks 5/9/24)
62. The Hold Steady – Certain Songs (Live at 9:30 Club)
63. H.C. McEntire – Dovetail (Get Down Version)
64. Futurebirds – 5am (Live from Moodright’s)
65. Fust – The Highlands of the Heart
66. Joseph Allred – Marion
67. Libby Rodenbough – Oh What A Beautiful Morning
68. Uwade – Belvedere
69. Iron & Wine – How Can You Mend a Broken Heart
70. Tyler Ramsey – New Lost Ages (A Parkway Session, from Asheville)
71. Bahamas – Say What You Like (Live at Massey Hall)
72. Water Liars – Swannanoa (Demo Version)
73. Joseph Decosimo & Jake Xerxes Fussell – Bob Wills Stomp (Live at Nightlight 7.26.22)
74. Lonnie Holley (with Jacknife Lee) – Tonky’s Rocket Ship
75. Sophie Thatcher – My Friend
76. Riggings – Strep Season
77. Etran De L’Aïr – Ighre Massina (Live at Madame Lou’s)
78. the Mountain Goats – Hand of Death
79. Superchunk – Wild Loneliness (Live for the Current)
80. Archers of Loaf – Great Holding Down
81. Hotline TNT – Candle
82. Karly Hartzman – Baby Me (Demo)
83. Squirrel Flower – Finally Rain (Live in St. Louis)
84. Object Hours – Street Scene (Live at Shadowbox)
85. Adeem The Artist – Freight Train (From DR Byen)
86. Sy Smith – Bigger Than The Work
87. Hayden Pedigo – John Frusciante’s Trailer House
88. Little Mazarn & Jonathan Horne – Lightning in the Water (Live at the Historic Dry Creek Cafe 10/17/21)
89. Carpenter / Cohen – Monuments
90. Jenks Miller & Rose Cross NC – Summerland
91. Christopher Paul Stelling – Me and I
92. Matthew E. White – Shine a Light (Solo Piano)
93. James Elkington – MEQZ
94. Rich Ruth – Super 8
95. Darien Brockington – Only One (Zo! & Tall Black Guy Remix)
96. Sylvan Esso – One More
97. Sonny Miles – Silverpieces
98. pat junior – U.D.O.
99. Flock of Dimes – Potential
100. Fancy Gap – Starlight Motel
101. Carlitta Durand – Slip Up
102. Wye Oak – No Good Reason
103. Eric Slick – Another Sunset
104. RIBS – The Blues II
105. Lydia Loveless – Loser
106. Julianna Riolino – Don’t Put Me In The Middle
107. Mary Lattimore – I’ll See You Tomorrow
108. BCNC – PB Yards
109. Wood Ear – Ex Winter
110. Eli Winter Trio – Dayenu (Live)
111. Little Wings – Honey Bird’s Power Outage
112. Sharon Van Etten – Weather
113. Boulevards – Mad Man
114. The Foreign Exchange – Can’t Turn Around (Nicolay’s Hostile Takeover Mix)
115. Daughter of Swords – Alone Together
116. Tune-Yards – Hypnotized (Live from Brooklyn)
117. Calexico – Across The Wire (Live from Tollhaus)
118. The Decemberists – William Fitzwilliam (Live)
119. Bill Orcutt – Sad And Familiar
120. Ethan Baechtold – small talk between friends
121. Watchhouse – Harvest Moon
122. Sarah Louise – Dancing and Keening (My Body is a Part of the Earth)
123. Wet Tuna – So Much Vibe in the World (A Sweet Pond Nug)
124. Sunburned Hand of the Man with Mazozma – JJ Fale
125. David Michael Moore – A Little Spanish Delight
126. Les Savy Fav – Four Divided By One
127. Six Organs of Admittance – Sunrise at Sunset
128. Mind Over Mirrors – Rushing Airglow
129. Eric Bachmann – Wicked Little Dream
130. Wooden Wand – Sky Blue Aster (Homegrown Version)
131. Edsel Axle – Wipe Your Eyes and See
132. House Band – Three
133. Tropical Fuck Storm – Chameleon Paint (Live at Lincoln Hall)
134. King Gizzard & The Lizard Wizard – Change (Demo 4)
135. Phish – Sand (Live at Reynolds Coliseum, 1999)

The Cure Release New Song ‘A Fragile Thing’

The Cure have released a new single, ‘A Fragile Thing’, the second preview of their forthcoming album Songs of a Lost World. It arrives on the heels of the LP’s opening track, ‘Alone’. Check it out below.

Songs of a Lost World, the Cure’s first album in 16 years, is slated for release on November 1.

Artist Spotlight: Holly Macve

Born in Galway in western Ireland, Holly Macve grew up surrounded by music. Her mother – who, fleeing an abusive relationship, took six-month-old Macve and her sister to live with their grandparents in West Yorkshire – is a songwriter, while her grandfather was a classical musician. At 18, Macve moved to Brighton and began singing on open mic nights in a café. Bella Union boss Simon Raymonde frequented the café and went on to sign her at the label, which released Macve’s debut album, Golden Eagle, in 2017. Macve co-produced her second LP, 2021’s Not the Girl, with band member Max Kinghorn-Mills, and the record was mixed by Collin Dupuis, who worked on Lana Del Rey’s Ultraviolence. After Del Rey, an inspiration to Macve since her teenage years, followed her on Instagram a few years ago, the singer-songwriters met in person; following a difficult breakup, Del Rey then hosted Macve in her Los Angeles home and heard her new demos. There, they recorded ‘Suburban House’, the collaboration that’s at the heart of Macve’s February EP Time Is Forever. The songs on the EP are featured on her latest album, Wonderland, which is out this Friday via her own label, Loving Memory. Though musically nostalgic in its evocation of an otherworldly past, Macve employs her wistful, breathtaking voice and lush instrumentation in a way that doesn’t linger on old memories so much as it reaches for a starry, beautiful future, one she can wholly call her own.

We caught up with Holly Macve for the latest edition of our Artist Spotlight series to talk about her earliest musical memories, the making of Wonderland, collaborating with Lana Del Rey, and more.


Tell me about the journey of self-releasing Wonderland, which you also did with the Time Is Forever EP. How has doing things DIY changed your perspective on the process?

You’re so much more involved in every minute detail. It makes it more exciting because you’re just so invested in every single area. I’ve definitely been doing it in a very DIY way, and it’s a learning curve, but I enjoy that process. I do all my visuals, I edit all the videos myself, and it’s a lot of work, but the reward is greater, I guess. The only worry is that when you get into that mindset, it’s kind of scary, then, losing control of that and starting to collaborate with people again. Maybe for my next project, I’ll try to get back into that mindset and do some more collaborations, because you end up wanting to not give away any creative control, and I think that can be dangerous as well.

How early did you know that the songs on the EP would end up on the record? What was the relationship between the two projects as you were working on the songs?

It’s kind of hard to really articulate that. The record feels like a chapter of my life as a whole, and it felt like it should be in one piece of work. I feel like it’s bookending a certain period in my life, from beginning to end. When the EP came out, I kind of knew that I wanted these songs to be part of an album as well. I had a lot of the songs written for the record as a whole, but I hadn’t yet finished them. It felt like the right time to release some music, so I put the EP out, but it was always a plan to have them on an album.

One sequencing choice that I love about bringing the EP songs into Wonderland is ‘Almost a Miracle’ going into ‘Time Is Forever’, juxtaposing the idea that nothing lasts forever with the permanence of time. I don’t know if it was a conscious decision to pair those songs.

Actually, I love that. I think some of these things come out subconsciously, but in terms of the lyrics, that wasn’t something I thought of, so it’s really interesting that you mention that.

There’s a lot of reflection on the concept of forever, so it makes sense that it would come up in different ways.

It’s a theme, I think, in my songwriting in general. I think about the concept of time, the beginning and end of things. That’s something that’s reoccurring, so I guess I may not have noticed it as much because I feel like it comes into my music lot.

I read that the first show you went to with friends was Red Hot Chili Peppers. What do remember about that experience?

I was a big Chili Peppers fan. When I was growing up, one of the first instruments I ever got was the bass – I actually still use it, it’s right next to me right now – but I call that bass Flea. [laughs] That’s the first thing I started learning on – and piano as well. I mean, this is awful, but the main experience I take from that – because I was really small, I was probably 15 or 16, and I was always the smallest within the group – and I remember someone in front of me giving me a shoulder lift so that I could see. But the guy that gave me a shoulder lift was so sweaty that I remember it being transferred onto me. [laughs] That wasn’t so pleasant, but the actual show, I just remember it being so magical. Hearing all those songs that you’d grown up with for the first time was fun.

Are there any other early showgoing experiences that have stuck with you?

I was kind of surrounded by music as a kid in general, so that was the first one that was outside my family. But my mom – me and my sister used to travel with her to these little venues. I remember going to one, I feel like it was Blackpool in the UK, I was about four years old, and just watching her. That’s actually my very earliest memory of music. And my dad was a classical musician, so I used to go and watch that, and I think at the time I didn’t really appreciate it in the way I do now. As a kid, I didn’t quite get it, and I remember growing up and it connecting with me, realizing how much it was to witness him. Those were my earliest memories of going to concerts, but it was more within my family.

Did you make that connection before getting into songwriting yourself?

I think it’s one of those things that you take for granted. That’s just all I knew when I was growing up – I didn’t think it was something out of the ordinary, to have all these instruments around me and everything. As I grew up, I realized that that was quite a special thing, and it definitely enabled me – even to just have the instruments in the house that I could pick up and explore with. I don’t think I recognized that until I was probably in my late teens, and then my grandad passed away, and I started reflecting on all of that stuff. Actually, my first record was titled after my grandad – I wrote ‘Golden Eagle’ [the title track], and it was about him.

So it was through song as well.

Yeah. To be honest, I think I learn about myself through my own songwriting, because the songs I write tend to have very personal lyrics, and there’s a little bit of therapy or something like that. I’m getting all of my ideas out of my brain, and then I see it on paper and I’m like, “Oh yeah, that makes sense. That’s what I was thinking.” It’s like writing diaries or journaling, I suppose.

Growing up, was there a divide between the sort of contemporary artists you were hearing about or going to see and this older world of music that you were fascinated by? I know one of your earliest obsessions was Elvis.

I guess the things that I was drawn to were things that reminded me of music of the past. When I heard voices that took me to that place, that were timeless or made me feel nostalgic, that’s what I was always drawn to. I remember going to see Angel Olsen when I was 18 or something, and I remember it doing that for me. She’s got one of those voices that could be from any time; I think she’s super inspiring. And obviously, Lana’s voice is like that. I love that timeless thing, something that’s gonna take you to a bit of another world, which is why I’m drawn to old film and Elvis and the Everly Brothers.

Another influence you mention in the song ‘Dreamer’ is Sylvia Plath. I know The Bell Jar inspired ‘Eye of the Storm’ from Not the Girl. Is she an inspiration you keep turning to poetically as well?

She definitely is. Not even just her poetry, but her as a person and her mind. I don’t know if you’ve ever read it, but there’s a whole book of her diaries, and there’s something about the fact that she just wanted to dedicate her life to her art – I find that really inspiring. There’s a loneliness or something that I can relate to with her, and I think a lot of women artists maybe do.

Yeah, and I’m now going through the complete collection of her letters that was recently published. I find that with these artists whose work we idealize at an early age, we’re then drawn to understand their personal lives or the nuances of their personhood. There’s definitely some of that with the Priscilla and Elvis movies that have come out in recent years. Does that resonate with you?

Definitely. I suppose the more you get to know the person behind the art, you can almost figure out how the art came about as well. It all makes sense. I definitely feel that. I really have enjoyed all the Elvis stuff that’s been coming out. I’ve actually got a big Elvis poster behind me, as you can see. [laughs]

You’ve described Not the Girl as a coming-of-age album, but Wonderland seems to embrace a different perspective. To me, it’s more reflective and weighted in the way it’s looking back. You said that it represents a specific period in your life – how do you now see that period reflected on the record?

You’re right, I remember saying that about Not the Girl. It felt like that at the time. I think I felt more unsure of myself, and I think Wonderland is me feeling like I’ve actually really got to know myself and who I am. I think Wonderland is meant to represent this chapter of looking forward, maybe, rather than back. I went through a lot during that process of writing Wonderland, a lot of big life changes. Living situations, coming out of the pandemic, going through a big breakup. Spending a lot of time in LA, and then spending a lot of time on my own as well after not doing that for years. There was a lot reflecting that happened and a lot of time that I had to get to know myself – who I am on my own without being in a relationship, what I want in life, what my dreams and aspirations are as an individual person. I think it’s very much getting to know myself again after maybe going through a period of time where I didn’t.

There is this diaristic quality to a lot of the songs on the album, but it also seems like you’re addressing your younger self in a way that takes away some of the darkness from the past, like when you sing, “It was just the beginning, I thought it was the end” on ‘Beauty Queen’. Was it freeing to write from this perspective?

Definitely. I like the way that you worded that. With ‘Beauty Queen’, it was quite a cathartic thing, because I felt almost like I was nurturing my younger self. That song is about an experience I had as a young woman, and I think at the time, I was very unkind to myself and was just seeing it in a very different light. In hindsight, I can look back at that, and it was like I was looking after my younger self, in the hope that if there are women who have had similar experiences, maybe the song could speak to them in the way that I was speaking to my younger self.

Has it been a learning curve, too, finding ways to be kinder to yourself in the writing process?

I think it probably is. As a writer, you’re always evolving and changing, and I think in my earlier writing, I probably was harder on myself. And maybe with these songs, I feel like there’s a lot of darkness being covered, but hopefully it’s done in a kind of lighter way than my earlier songwriting.

There’s a sense of sisterhood on songs like ‘Beauty Queen’ and ‘Cold Water Canyon’ as well.

Yeah, that’s very true. I have been surrounded by some really special women over the past few years, and that probably has come out in the songwriting. After coming out of a relationship, leaning on the women in my life, that felt important – and making new connections there as well. That’s definitely a part of it.

How did ‘Suburban House’ become the song that you decided to sing with Lana Del Rey?

It was actually quite spontaneous. I’d written this song, and I was going through a time where I really felt like I needed to do something different, and I flew to LA really spontaneously. Lana and I met previously only once, I think, but we’ve had a friendship over the years through writing to each other. I was hanging out with her, and I played that song because I’d just written it. I played it live on the piano to her, and her dad was there as well. It was a beautiful little day where we were hanging out and sharing music together. There was something that clicked while I was playing; we’d been wanting to do some sort of collaboration, we’d spoken about it, but it wasn’t clear what it was. When I played that song, she started singing along, and we realized then and there that that was the one we wanted to do together. It felt right. Then, a couple of weeks later, we recorded it. But as soon as I heard her singing the verse, it kind of felt like I’d written it for her or something. Whenever I sing that verse on my own, I’m like, “I wish Lana was here singing that,” because it feels like it’s her verse. I’m so grateful to have her on it because she’s incredible.

In a press release for the song, she mentioned how your vocals have inspired her over the years. In what ways does she inspire you, be it musically or personally?

Definitely both personally and musically. Musically, I was probably 15 or 16 when ‘Video Games’ came out, and I remember someone sending it to me. Like what I was talking about earlier with those voices that take you to another world, I remember hearing that and it was unlike anything I was listening to at the time or any kind of current music. It just felt so timeless. I love how she’s always made her own world and she’s just so unique. Personally as well, she’s a very inspiring person. She’s just so authentically herself – she’ll just do whatever feels right to her, and she’s not trying to fit into any box or anything. She doesn’t care. She’s just following her own path, and I think that’s really inspiring.

Could you walk me through the timeline of writing and recording Wonderland?

Actually, ‘Beauty Queen’ was one of the first songs that I wrote for the album – it’s interesting because we were talking about it being this thing of looking back. That set the tone, maybe. I also started writing ‘San Fran Honey’ first, but that kept on – I usually write a song in a day and I’ll stick with it how it is, but with ‘San Fran Honey’, it was a process of rewriting things. But that was also one of the earlier ones. I guess that was a few years ago, and I didn’t really sit down to write the record – like diary entries, it all just came quite naturally over a few years.

The recording was a mixture of – I did some of it at home, some of it evolved from early demos I had. And then I spent some time in LA in a beautiful studio called Valentine Studio, which is all old analog gear; that was a really great experience. And then I met Dan Rothman from London Grammar – I’d say that was part two of the EP/album. When I met Dan, that was kind of the second half of it, but it felt like the songs needed the first songs as well. It was just perfect timing, because I felt like he really understood what I was trying to do. That’s when we brought in a guy called David Saunders, who did the string arrangements. That was a click moment where it was the kind of sound I was looking for ever since I’ve been making music. When we got him on board, it was really special and magical.

I’m assuming the title track is one of the songs that came later, because it’s more indicative of this looking ahead. Even just the way it begins: “This time, I will not follow.”

Definitely, yeah. That’s very perceptive, because actually, that was the last song that was written for the record, even though it’s one of the first ones I released, and it’s the opening track. And you’re right, it’s very much looking forward rather than back. I wanted to set the tone of the album; I wanted it to have a hopeful feel about it.

I love the atmospheric flourishes throughout ‘Best of Your Heart’. What was it like piecing that one together?

That was one of those moments where it all made sense. Dan did these amazing soundscapes on that. I think it was ‘Wonderland’ and then that was the was the first one that Dan really worked on production-wise, and he was feeling really inspired. That’s when we’d just got David on board doing strings, and it was this moment where we all felt really excited and inspired.

What are you most proud of yourself for with the release of Wonderland?

The way I’ve done it in a pretty DIY way, all of the visual stuff, I feel like it’s aiming to create a little world – and I think when you are making a lot of the creative choices yourself, it ends up being a little world you make. I hope other people feel like that and enjoy stepping into that world with me.

You mentioned possibly opening up that world to more collaborators in the future – what excites you about that?

This is the thing – when you do it yourself and it’s all an internal little world, and then you open that up to other people and other artists, it ends up being something you could never have made on your own. I’m excited to step out of that for the next project. I’ve done the more insular thing, the diary thing – maybe I’ll end up opening it up and creating something that I feel like is something I never could have done just on my own. That’s the beautiful thing about collaborating.


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

Holly Macve’s Wonderland is out October 11 via Loving Memory.

Daughter of Swords Releases New Song ‘Alone Together’

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Daughter of Swords – the project of North Carolina singer-songwriter Alex Sauser-Monnig, who has released music with the bands Mountain Man and The A’s – has returned with a new single called ‘Alone Together’. The track was made with Amelia Meath (Sylvan Esso, Mountain Man), Nick Sanborn (Sylvan Esso, Made of Oak), Jenn Wasner (Wye Oak, Flock of Dimes), TJ Maiani (Weyes Blood and Neneh Cherry), and Caleb Wright (Hippo Campus, Samia). Check it out below.

“‘Alone Together’ is a song about reckoning with the need to connect when the rest of your life is locked in and satisfying,” Sauser-Monning explained in a statement. “The cracking of the veneer of self sufficiency. Its content was mirrored in its recording, in the way recording a song demands vulnerability and community to bring it into fullness and reality.”

Daughter of Swords’ debut LP, Dawnbringer, was released in 2019.

Clairo Shares Cover of Margo Guryan’s ‘Love Songs’

Sub Pop is paying tribute to Margo Guryan, the pop singer-songwriter who passed away in 2021, with a forthcoming covers compilation called Like Someone I Know. Empress Of, TOPS, Frankie Cosmos, Kate Bollinger, and Margo Price are among the artists featured on the album, and today, we get to hear Clairo’s take on ‘Love Songs’. The cover was produced by Leon Michaels, with whom Clairo worked on her latest album Charm. Take a listen below.

Like Someone I Know: A Celebration of Margo Guryan is set for release on November 8. A portion of the proceeds from the album will be donated to providing and advocating for affordable reproductive health services.

Ekko Astral Release New Song ‘Pomegranate Tree’

Ekko Astral have returned with a new song called ‘Pomegranate Tree’. It follows June’s ‘Holocaust Remembrance Day’. Check out a video for the song below.

“It’s exhaustingly heartbreaking to watch a symbol of your childhood community transform into a symbol for genocide, or to watch people you used to respect defend the actions of an extremist right-wing government,” drummer Miri Tyler said of the single. “Jael and I grew up Jewish in America. We were taught we had a ‘homeland’ that we had an obligation to. We were *not* taught about the human beings that lived there prior. We were taught to celebrate victories. We were taught simply that they hated us. We were taught that this violence was righteous. But there is no such thing as righteous genocide, and experts around the world agree– including Jewish survivors of the Holocaust – the violence being carried out by the IOF is indeed genocidal. And the fact that these atrocities are being carried out in the name of our faith, culture, and community– well, it’s enough to keep us up at night.”

Ekko Astral’s debut LP, pink balloons, dropped in April. Check out our Artist Spotlight interview with Ekko Astral.

Kim Gordon Shares Video for New Song ‘Bangin’ on the Freeway’

Today, Kim Gordon has shared the deluxe edition of her second solo album, The Collective. It includes the previously released single ‘ECRP’, as well as a new song, ‘Bangin’ On the Freeway’, which comes with a video directed by Coco Gordon Moore and starring Kim and Coco on a road trip. Watch and listen below.

In a press release, Gordon said: “Feel like I’m just getting started! Thanks for all the love!”

The Blueprint for Social Media Success: Building a Sustainable Career Online

In today’s digital age, a career in social media can be incredibly rewarding, but it requires more than just a passion for posting and sharing content. To build a successful and sustainable career online, it’s essential to understand the nuances of the social media landscape, craft a unique brand, set clear goals, and engage effectively with your audience. This guide provides a comprehensive look at the strategies and considerations necessary for thriving in the world of social media.

Understanding the Social Media Landscape

The social media landscape has evolved significantly since the early days of platforms like MySpace and Facebook. Today, the digital world is populated by a diverse array of platforms, each with its unique audience and features. From Instagram’s visual-centric approach to LinkedIn’s professional networking, understanding these nuances is crucial for tailoring your strategy.

Current trends indicate a growing emphasis on video content, with platforms like TikTok and YouTube leading the charge. The rise of ephemeral content, such as Stories on Instagram and Facebook, reflects a shift towards more authentic and immediate forms of engagement. Anticipating these trends and adapting your content strategy accordingly can help you stay ahead of the curve.

Identifying and understanding your target audience is a critical component of this process. Researching demographics, interests, and online behaviors will allow you to tailor your content and messaging to resonate with the people you want to reach. Additionally, if you’re looking to accelerate your growth, you might come across services where you can purchase X followers.

Crafting Your Unique Brand

Your personal or professional brand is the cornerstone of your online presence. Developing a brand identity involves creating a compelling and authentic persona that reflects your values, expertise, and personality. This identity should be consistently communicated across all your social media platforms to build recognition and trust.

Crafting a unique brand begins with defining your core message and values. What sets you apart from others in your field? What are your strengths and passions? Once you have a clear sense of your brand identity, you can translate it into visual elements like logos, color schemes, and typography, as well as verbal elements such as tone and style.

Consistency is key in branding. Your profile photos, bios, and content should all align with your brand identity. This not only helps in establishing a cohesive online presence but also makes it easier for your audience to recognize and connect with you.

Setting Clear Goals and Objectives

Short-term goals might include increasing your follower count, boosting engagement on specific posts, or launching a new content series. These goals should be specific, measurable, and time-bound, allowing you to track your progress and make necessary adjustments.

Long-term goals, on the other hand, focus on broader achievements such as establishing yourself as an authority in your niche, securing brand partnerships, or transitioning to a full-time social media career. Aligning these goals with your career aspirations ensures that your social media efforts are directed toward achieving your ultimate vision.

Content Creation and Strategy

Content is the lifeblood of social media, and creating high-quality, engaging content is essential for building a successful online presence. The types of content you produce—whether blogs, videos, podcasts, or infographics—should be tailored to your audience’s preferences and the platform you’re using.

Developing a content calendar is a strategic approach to maintaining a consistent posting schedule. This calendar should outline the topics, formats, and posting times for your content, ensuring that you remain organized and relevant. Incorporating storytelling and visual elements can further enhance engagement by making your content more relatable and memorable.

Building and Engaging Your Audience

Growing and engaging your audience is a dynamic process that requires ongoing effort and interaction. Organic growth strategies include optimizing your profile, using relevant hashtags, and collaborating with other influencers or brands. These tactics help increase your visibility and attract new followers who are genuinely interested in your content.

Engagement goes beyond merely gaining followers; it involves building relationships with your audience. Responding to comments and messages, participating in conversations, and soliciting feedback are all crucial for fostering a sense of community. Collaborating with other creators and participating in joint projects can also expand your reach and enhance your credibility.

Monetization Strategies

Monetizing your social media presence involves exploring various revenue streams that align with your brand and audience. Sponsored posts and affiliate marketing are popular methods, allowing you to earn money by promoting products or services that resonate with your followers.

Creating and selling your products or services offers another avenue for revenue. This might include digital products like eBooks or courses, or physical merchandise such as branded apparel. Understanding platform-specific monetization options, such as YouTube’s Partner Program or Instagram’s shop features, can also provide additional income opportunities.

Conclusion

Building a sustainable career in social media involves a combination of strategic planning, creative content creation, and ongoing engagement with your audience. By understanding the social media landscape, crafting a unique brand, setting clear goals, and staying adaptable, you can create a successful and enduring online presence. As you embark on this journey, remember that success in social media requires dedication, continuous learning, and resilience.

Top Prescription Medications for Weight Loss: How They Work and Their Benefits

While diet, exercise, and lifestyle changes are often the first recommendations for weight loss, they may not be sufficient for everyone. This is where prescription weight loss medications come into play. These medications offer a medically supervised option for those who have not found success with other methods or for those with obesity-related health issues that make weight loss an urgent necessity. In this article, we will explore the top prescription medications for weight loss, understanding how they work and the benefits they offer.

Understanding Prescription Weight Loss Medications

Prescription medications for weight loss are becoming a powerful tool in the fight against obesity, offering targeted support for long-term success. Brands like Ahara are leading the way in providing effective, personalized solutions that help individuals achieve their weight loss goals safely and sustainably.

These medications are typically prescribed to individuals with a body mass index (BMI) of 30 or higher, or 27 or higher if they have weight-related health conditions such as type 2 diabetes or high blood pressure. The decision to use these medications is made by a healthcare provider, who assesses the patient’s overall health, medical history, and weight loss goals. It’s important to note that prescription weight loss medications are not a quick fix; they are meant to support, not replace, healthy lifestyle changes.

These medications work in various ways to aid weight loss. Some suppress appetite, making it easier to consume fewer calories, while others inhibit fat absorption or increase the body’s energy expenditure. By targeting different aspects of weight regulation, these medications can provide more comprehensive support for weight loss efforts. For example, those looking to get Saxenda online can benefit from its ability to mimic hormones that regulate appetite, leading to reduced calorie intake and effective weight management.

Top Prescription Medications for Weight Loss

Several prescription medications are commonly used to help individuals achieve their weight loss goals. Each of these medications works uniquely, offering different benefits and potential side effects. Below, we take a closer look at some of the most widely prescribed options.

Orlistat (Xenical)

Orlistat, marketed under the brand name Xenical, is a medication that works by inhibiting the absorption of dietary fats in the intestine. By blocking the enzyme responsible for breaking down fat, Orlistat reduces the amount of fat absorbed by the body, which in turn reduces calorie intake.

The benefits of Orlistat include modest but steady weight loss, improved cholesterol levels, and a lower risk of developing obesity-related conditions. However, because it interferes with fat absorption, Orlistat can cause gastrointestinal side effects such as oily stools, flatulence, and frequent bowel movements. These side effects can be mitigated by adhering to a low-fat diet, which is typically recommended in conjunction with the medication.

Phentermine-Topiramate (Qsymia)

Phentermine-Topiramate, sold under the brand name Qsymia, is a combination medication that includes phentermine, an appetite suppressant, and topiramate, a drug used to treat epilepsy and migraines. Together, these components work to suppress appetite, increase feelings of fullness, and boost energy expenditure.

Qsymia has been shown to produce significant weight loss in clinical trials, making it one of the more effective options available. Beyond weight loss, Qsymia may also help improve obesity-related conditions such as high blood pressure and type 2 diabetes. However, it is not without potential side effects, which can include mood changes, insomnia, and an increased heart rate. Patients taking Qsymia require regular monitoring by their healthcare provider to ensure the medication is working effectively and safely.

Liraglutide (Saxenda)

Liraglutide, marketed as Saxenda, is a medication that mimics a hormone called GLP-1, which regulates appetite and food intake. By enhancing the body’s natural satiety signals, Liraglutide helps reduce calorie consumption and promote weight loss.

The benefits of Saxenda extend beyond weight loss, as it has also been shown to reduce the risk of cardiovascular events in people with obesity and type 2 diabetes. However, it is associated with side effects such as nausea, vomiting, and diarrhea, particularly when first starting the medication. Despite these side effects, Liraglutide is considered a valuable tool for individuals seeking long-term weight management, especially those with obesity-related health conditions.

Comparative Analysis of Weight Loss Medications

When choosing a prescription medication for weight loss, it’s important to consider the efficacy, suitability, and safety of each option. Different medications offer varying degrees of effectiveness, with some producing more significant weight loss than others. For example, clinical trials have shown that medications like Qsymia and Semaglutide tend to produce more substantial weight loss compared to Orlistat.

The suitability of a medication often depends on the individual’s overall health and specific weight-related conditions. For instance, individuals with type 2 diabetes may benefit more from medications like Saxenda or Wegovy, which have additional benefits for blood sugar control. On the other hand, those with a history of seizures may need to avoid Contrave due to the increased risk associated with its use.

In addition to prescription medications, CelluCare is a safe and natural supplement designed to support healthy blood sugar levels, boost energy, and improve circulation. It complements weight loss efforts, making it a great choice for those seeking natural, sustained weight management.

Conclusion

Prescription medications for weight loss offer a valuable tool for individuals struggling with obesity, especially when traditional methods have not produced the desired results. Medications like Orlistat, Qsymia, Saxenda, Contrave, and Wegovy each offer unique benefits and work through different mechanisms to support weight loss. When chosen carefully and used in conjunction with lifestyle changes, these medications can significantly improve health outcomes and quality of life.