HAIM have officially announced I quit, the follow-up to 2020’s Women in Music Pt. III. It’s ut June 20 via Columbia. Danielle Haim and Rostam Batmanglij produced the LP, and frequent collaborator Paul Thomas Anderson shot the cover artwork. Today’s announcement comes with the release of the reflective new single ‘Down to be Wrong’, which arrives on the heels of ‘Relationships’ and ‘Everybody’s Trying to Figure Me Out’. Its music video arrives Friday. Take a listen below.
I quit Cover Artwork:
Broken Social Scene have announced a covers album celebrating their 2002 breakout You Forgot It in People. Anthems: A Celebration of Broken Social Scene’s You Forgot It in People is set to arrive on June 6, via Arts & Crafts. It features Toro y Moi, Mdou Moctar, the Weather Station, Miya Folick and Hand Habits, Hovvdy, Spirit of the Beehive, and more. Today, we get to hear Maggie Rogers and Sylvan Esso’s radiant cover of ‘Anthems for a Seventeen Year-Old Girl’, a song yeule recently breathed new life into with their rendition for the I Saw the TV Glow soundtrack. Check it out below.
“‘Anthems’ is one of those songs that fundamentally changed my life,” Rogers said in a press release. “There’s something about the lyrical repetition that functions as a sort of mantra within the song and it made me understand at a very early point in my creative life that music could be a form of meditation. Broken Social Scene has long been one of my all-time favorite bands and covering it with my dear friends Nick and Amelia from Sylvan Esso was an absolute joy beam dream.”
Sylvan Esso added: “It was a joy to cover this beautiful song with Maggie – we all grew up loving this record – to be asked to cover ’Anthems…’ together was an honor and led to a truly lovely time.”
Anthems: A Celebration of Broken Social Scene’s You Forgot It in People Cover Artwork:
Anthems: A Celebration of Broken Social Scene’s You Forgot It in People Tracklist:
1. Capture the Flag – Ouri
2. KC Accidental – Hovvdy
3. Stars and Sons – Toro y Moi
4. Almost Crimes – Miya Folick & Hand Habits
5. Looks Just Like The Sun – The Weather Station
6. Pacific Theme – Mdou Moctar
7. Anthems for a Seventeen Year-Old Girl – Maggie Rogers & Sylvan Esso
8. Cause = Time – Middle Kids
9. Late Nineties Bedroom Rock for the Missionaries – Benny Sings
10. Shampoo Suicide – Spirit of the Beehive
11. Lover’s Spit – serpentwithfeet
12. Ainda Sou Seu Moleque – Sessa
13. Pitter Patter Goes My Heart – Babygirl
At the intersection of graphic design, drawing, and the enigmatic realm of the subconscious lies Night Figures—an evocative visual art project by Trisha Kim, designed to blur the lines between conscious creation and instinctual expression. This body of work invites viewers to confront the shadows of their own minds, where fleeting shapes, faces, and forms emerge from abstract chaos, echoing the universal experience of finding meaning in the unknown.
The project’s origins trace back to the artist’s immersion in OverCurrent, a musical collective known for its experimental soundscapes. Inspired by the transcendental moment when a dancer closes their eyes and surrenders to rhythm and light, Trisha Kim sought to capture the ephemeral “night figures” that materialise in these liminal spaces—phantom companions birthed by music, movement, and collective energy.
“Night Figures is about what happens when we let go,” explains the artist. “It’s that split second on the dance floor where the self dissolves, and something primal takes over. The figures aren’t imagined—they’re felt.”
To channel this raw, instinctual energy into visual form, Kim adopted a radical creative method: drawing with their non-dominant left hand. By relinquishing control and embracing the stiff, unrefined movements of their untrained hand, the artist allowed intuition to guide the process. Scribbles, jagged lines, and organic shapes flowed freely, unburdened by conscious intent.
“The left hand became a conduit,” says Kim. “The more I surrendered, the more the marks felt automatic—like the subconscious was sketching itself.”
These analog drawings were then photographed and digitally refined, stripped of colour to emphasise their stark, graphic quality. What began as chaotic gestures evolved into intricate labyrinths of linework, where hidden forms began to surface: a face in the negative space, an animal silhouette, a figure frozen mid-dance.
The final stage of Night Figures transforms creation into collaboration—between the artist and their own psyche. By revisiting the digitised drawings, Kim engaged in a visual “hide-and-seek,” consciously identifying shapes that their subconscious had buried. The resulting artworks exist in a state of duality: half-revealed, half-concealed, existing on the edge of recognition.
“These figures aren’t invented; they’re discovered,” the artist notes. “They’re fragments of a collective subconscious—the kind we all glimpse in dreams, shadows, or the corner of our vision.”
Night Figures transcends traditional graphic design, acting as a mirror to the human tendency to seek order in chaos. The work challenges viewers to project their own interpretations onto its abstract forms, echoing the way we assign meaning to music, nature, or even randomness itself. Trisha Kim’s innovative fusion of analog and digital techniques, paired with a philosophy rooted in psychology and communal experience by bridging the tactile intimacy of hand-drawn art with the precision of graphic design, the project redefines how we visualize the intangible. It’s a testament to the power of surrendering to the unknown. For Kim, this project is a gateway to broader conversations about creativity, identity, and the shared human impulse to find connection in the abstract. As the work continues to gain recognition, it solidifies the artist’s role as a pioneering voice in exploring the subconscious through visual language.
In personal injury law, responsibility isn’t always black and white. Often, multiple parties share blame for an accident. The principle that allows for this distribution is known as comparative negligence. Under this rule, a person who is partially at fault for their own injury can still recover damages, but the compensation is reduced by their percentage of fault.
There are two main types of comparative negligence used across the United States: pure and modified. In pure comparative negligence states, even if a person is 99% at fault, they can still recover 1% of the damages. Modified comparative negligence, by contrast, limits recovery once the person’s fault exceeds a certain threshold, usually 50% or 51%.
Fault is determined by examining the actions of each party leading up to the incident. This can be based on witness testimony, video footage, photos, expert analysis, and other forms of evidence. For example, if someone slips on a wet floor in a store but was also texting and not watching where they were going, the injured person might be deemed partially responsible.
In this scenario, the court or insurance adjuster might assign 70% fault to the store and 30% to the individual. If the total damages are $100,000, the individual would recover $70,000 after subtracting their portion of responsibility.
Fault determinations rely heavily on the quality and quantity of available evidence. Some of the most impactful forms include:
Even statements made by the injured party at the time of the accident can play a role. Saying something like, “I wasn’t paying attention,” might seem harmless, but it can be used to assign fault.
There are many situations where shared fault is common. In slip and fall cases, property owners may argue that the injured person ignored warning signs, wore inappropriate footwear, or was distracted. In vehicle accidents, both drivers may have committed traffic violations that contributed to the crash. In product liability cases, manufacturers may claim improper use of the item by the injured party.
These cases hinge on context. For example, if someone falls down stairs with a missing handrail while also carrying too many items to see where they were stepping, both the property owner and the injured party may bear responsibility.
Once fault percentages are assigned, compensation is calculated accordingly. For instance, if a person suffers $80,000 in damages and is found 20% at fault, they would receive $64,000. This formula helps ensure that injured individuals are still compensated even if they contributed to the incident.
This system also discourages fraudulent claims and encourages individuals to act responsibly. However, it also means that a well-prepared legal strategy can make a significant difference in reducing your share of the blame and maximizing your recovery.
Successfully navigating a comparative negligence claim requires more than just evidence—it requires strategy. An experienced slip and fall attorney can argue to reduce your percentage of fault by presenting compelling testimony, hiring experts, and interpreting the law effectively.
Legal professionals also shield clients from tactics used by insurance adjusters who try to manipulate fault percentages. Without a lawyer, claimants often accept lowball settlements out of fear that shared fault ruins their case.
Most personal injury cases are settled out of court, and comparative negligence plays a critical role in those negotiations. Insurance companies often attempt to assign a higher percentage of fault to the injured party to lower their payout. This makes it essential for claimants to have solid evidence and strong representation.
In the event a case goes to trial, jurors are tasked with assigning fault. They evaluate all the facts and determine what portion of the blame belongs to each party. Their decision directly affects the final compensation amount.
Studies have shown that cases involving shared fault can still result in substantial settlements. According to a report by the Insurance Research Council, nearly half of all bodily injury claims involve some level of comparative fault.
Imagine tripping on a damaged sidewalk while jogging. If the sidewalk was cracked and unmarked, the city or property owner may be at fault. But if you were listening to loud music and not paying attention, you might share responsibility. Even with 25% fault, if your damages were $120,000, you could still recover $90,000.
Another example might involve a car accident where a driver ran a red light, but you were speeding. The other driver bears primary responsibility, but your actions contributed to the impact. The fault might be split 70/30, reducing your potential award but not eliminating it.
Being partially at fault for an accident doesn’t mean you have no legal recourse. Comparative negligence laws ensure that injured individuals are still entitled to compensation based on the other party’s degree of fault.
The key to maximizing your claim is a well-documented case and an experienced advocate who knows how to present it. If you’ve been injured and believe you may be partially responsible, it’s still worth exploring your legal options thoroughly.
The following article offers a thorough how-to for downloading, setting up, and utilizing the Aviator app on PC, iOS, and Android. To guarantee a flawless download Aviator App process and further gaming experience, learn about its features, system requirements, and troubleshooting advice.
The Aviator app offers multiple features that target making the experience of the user easy to use while providing robust performance and secure transactions. From its light composition to robust security measures, the app is specifically designed to deliver players a safe and efficient playing experience.
Aviator is designed to be light, consuming less data and battery. This is suited for players who want to play the game without worrying about consuming too much data or draining their battery. The app is compatible with Android 8.0+, iOS 11.0+, and works fine on stable internet connections like 3G, 5G, or Wi-Fi, ensuring smooth gameplay even on weaker devices or slower networks.
The Aviator app uses advanced encryption technologies to secure user data, including monetary transactions, during gameplay. The security features shield sensitive information, giving players peace of mind while betting and playing the game. The app is also regularly updated to improve performance and security, giving players a continually better experience.
Downloading and installing the Aviator app on your Android device is a simple process. Follow the steps below to ensure a smooth and secure installation.
System Requirements for smooth installation:
The download and installation process of the Aviator app on an iOS device is simple and does not require any additional permissions beyond what is needed for app installations from the App Store.
System Requirements for iOS Devices:
Once the installation is done, you can open the app, log in, and enjoy playing Aviator.
If Aviator is not available for desktop platforms and you desire to play Aviator on a computer, you can utilize an Android emulator like BlueStacks or LDPlayer. The emulators support the emulation of Android applications, including Aviator, on your Windows or macOS system, providing a smooth gaming experience with an enlarged screen.
While using the Aviator application, a number of users will sometimes encounter errors like network issues or system issues. Luckily, most times the errors are easy to address with a couple of steps of troubleshooting. Common errors that can occur during gaming have been mentioned below.
Diamonds are not cheap, but they are such a pleasant treat. People use them for engagement rings, special gifts, and personalized pieces. Potential customers are faced with a huge choice as the market contains many retailers trying to buy high-quality diamonds at reasonable prices. Rare Carat stands out from other options in the market in this area. Rare Carat maintains its position as the leading unbiased platform in America that helps customers explore millions of diamonds from trusted retailers. Diamond hunters can find the best selection on Rare Carat as they inspect GIA-certified stones with their free gemologist service and also offer the 4 Cs diamond buying guide.
Through its marketplace, Rare Carat, LLC provides customers with a unique diamond buying experience. This is possible through clear pricing and professional oversight in addition to competitive prices. Users can access listings provided by reputable retailers through the platform to easily evaluate prices and check quality and certification information. When you Shop at Rare Carat, you will find diamonds that provide both the highest monetary value and the type of diamond they desire. Customers trust Rare Carat based on 4.9/5 ratings on Google Business Profile and Trustpilot as the company continues to delight thousands of consumers.
Finding a great deal on a diamond requires a combination of knowledge, research, and reliable resources. Rare Carat simplifies the process by providing.
Rare Carat users can narrow down their diamond selection by specifying key factors such as carat weight, as well as cut, color, clarity, and certification information. Customers can choose a budget setting that displays suitable diamond options in their price range. Users who want to explore their options in more detail can first select their goals from different categories that include diamond shapes and value ranges, as well as seller affiliation. The system provides multiple search options to help users find exactly what they need.
Free gemologist reviews provided by Rare Carat allow all buyers to check the diamonds they want to buy against the highest quality standards. The service helps users feel comfortable as it provides a quality assurance for those new to diamonds. All Rare Carat diamond quality assessments are dependent on experts who examine the diamonds to help customers make an informed choice. The service provided by Rare Carat helps users check both the superior quality and reasonable prices of the diamonds available on their platform.
Rare Carat allows customers to access competitive prices in the industry, which are among the best in the market. Users who check with multiple suppliers can confidently buy top quality diamonds at reasonable prices. The platform provides customers with a diverse range of diamonds, allowing them to better shop according to their budget. All purchases made through Rare Carat prove to be both quality investments and free from unreasonable price hikes. Customers benefit from seeing the prices openly, making it easier to understand the diamond markets.
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Purchasing a diamond requires careful consideration, and Rare Carat makes the process seamless, transparent, and budget-friendly. Whether you’re looking for a natural or lab-grown diamond, their platform provides access to the best deals, expert guidance, and superior customer service. Start your journey today by exploring their vast selection of engagement rings and discover why Rare Carat is the go-to destination for diamond shoppers.
As mobile gaming becomes the go-to choice for Aussie casino enthusiasts, one question keeps popping up: Should you use the Uptown Pokies Android app or just stick with the mobile browser version? The answer depends on your playstyle, device preference, and how you like to experience your online pokies.
Uptown Pokies has taken the mobile experience seriously—delivering smooth performance, fast load times, and a full range of features whether you’re using a native app or playing directly in your mobile browser. The good news? Both options are solid. But there are a few things you should consider before deciding.
If you’re an Android user, you can enjoy an app-style interface without needing to visit the Play Store. Uptown Pokies offers a progressive web app (PWA) that functions just like a native app—once installed via browser prompts, it launches from your home screen with a tap.
Why choose the Android version?
Installing it is a breeze. Simply visit the official site from your Android browser, and you’ll be prompted to “Add to Home Screen.”
You can get started by visiting the official platform at uptown-pokies.online, where you can explore both mobile and Android-friendly options, sign up, and claim your welcome bonus.
For players who don’t want to install anything—or who switch between multiple devices—the mobile browser version is the way to go. It offers the same features as the Android version:
You’ll enjoy fast gameplay whether you’re on Safari, Chrome, or any modern mobile browser. This version is also ideal if you’re using an iPhone or if you like the freedom of logging in from different devices without needing an app.
Here’s a quick breakdown to help you decide:
| Feature | Android App (PWA) | Mobile Browser |
| Quick Access | ✅ | ➖ |
| No Need to Download Updates | ✅ | ✅ |
| Push Notifications | ✅ | ➖ |
| Compatible with All Devices | ➖ (Android only) | ✅ (All mobile devices) |
| Full Casino Functionality | ✅ | ✅ |
| Ideal For | Frequent players | Casual/multi-device users |
Both versions of Uptown Pokies are designed to give players a premium mobile casino experience. If you’re an Android user who plays regularly, the PWA version is a no-brainer. It offers quicker access, a native-app feel, and smooth performance.
But if you value flexibility and want to jump in from any device without installations, the mobile browser version has you covered. Either way, you’re getting a sleek, secure, and fully-featured gaming experience.
To explore both options and start spinning for real wins, visit the official site at uptown-pokies.online.
After much teasing and a live debut at New York’s Washington Square Park earlier this week, ‘What Was That’ is finally here. Lorde’s first solo music since 2021’s Solar Power, was co-written with Jim-E Stack, and the pair co-produced it with Daniel Nigro. Jim-E Stack also contributed drums, keyboards, piano, synthesizer, and engineering, while Nigro played bass and electric guitar, piano, synthesizer, and engineering. Talia Chetrit shot the cover artwork. Check out the video for the song, shot on location in New York, below.
“I really think that this song is the music of my rebirth,” Lorde said in a voice memo to text subscribers on Wednesday. “It’s one of my favorite songs I’ve ever written, ever produced. The video’s so sick. It’s just different this time. You’ll see.” Maybe it’s the fact that it’s been seven years since Melodrama, but it really sounds like it. ‘What Was That’ hews much closer to the sound and emotional resonance of that album than Solar Power, and the production packs an added punch. It’s thrilling. Here’s some more context from Lorde:
LATE 2023. BACK IN NEW YORK. DEEP BREAKUP. STOPPING BIRTH CONTROL. EVERY MEAL A BATTLE. FLASHBACKS AND WAVES. FEELING GRIEF’S VORTEX AND LETTING IT TAKE ME. OPENING MY MOUTH AND RECORDING WHAT FELL OUT. JIMMY SHOUTING IN THE BACKGROUND. A THOUSAND HOURS OF AUDIO EMBROIDERY. DAN TELLING US WHERE THE MOOG BASS SHOULD GO. ANDREW GIVING IT TEETH. THE NIGHT WE FINALLY GOT THE DRUMS RIGHT. THE SOUND OF MY REBIRTH
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Wednesday, April 23, 2025.
Yaya Bey has announced the follow-up to last year’s Ten Fold, which is called do it afraid, with the songs ‘dream girl’ and ‘wake up b*tch’. The former, which draws from dance music as much as R&B and soul, is about “escaping to the party for a little while” and “really tapping into your desires – knowing there’s a million heavy things that need your attention but also leaving room for fantasy,” according to Bey. Opening track ‘wake up b*tch’, meanwhile, also presents the album’s emotional thesis. “There’s so much to be angry about right now and though I’m not someone who likes to sit in anger for too long, I do think it’s important to acknowledge it,” she explained. “Especially if you want to move on to other emotions. You’ve gotta acknowledge the elephant in the room.”
Madeline Kenney has announced Kiss from the Balcony, the follow-up to 2023’s A New Reality Mind, which is set for release on July 18. It’s led by the single ‘All I Need’, a stirring song that definitely echoes the Radiohead track of the same name. “This was an Imagined Love song – trying to create something perfect and soft and yet realistic; the feeling of falling into someone after a long day, an imagined cheek so soft you could live there,” Kenney reflected. “I think a good love song has to include something about feeling like the only ones in the world who ‘get it’. I like to think of the Kiss from the Balcony as the totally wild and foolhardy desire to love, to blow a kiss to the universe, despite it all.”
Buscabulla have announced a new album, Se Amaba Así, due June 13 via Domino. The flashy lead single ‘El Camino’ “is a dramatic disco guitar track about coming to a crossroads in a relationship and getting lost traveling through the uncharted, dark territories of life,” Raquel Berrios explained in a statement. “We wanted to achieve a cinematic sound to open up the movie that is our new record.” She added: “We took the decided approach to turn inward, to ourselves, and explore the struggles of not only our own romantic relationship but romantic relationships in general. Wrestling between traditional versus modern ideas of love, Se Amaba Así is a cathartic, self-reflective journey of songs influenced by Latin and tropical genres of the past seen through a contemporary lens.”
Miki Berenyi Trio have teamed up with Lol Tolhurst and his son Gray for a gauzy, mellifluous new single called ‘Stranger’. “Stranger arrived as a demo from Lol/Gray, with guitar, synth and drums, with loads of room to develop riffs, hooks and melodies,” MB3’s Oliver Cherer, who produced track, explained. “I liked the insistent repetition of the long outro and was instantly minded to explore a Talk Talk approach, which is where the piano line with the Ashes to Ashes flanger wobble came from. The outro was extended to make a virtue of the repeated progression and the strings synths were added to help swell that into a wall of crescendo. Miki then took over adding lyrics and the gorgeous vocal melodies. Moose added layers of shimmering guitars and a rough mix was sent to Lol who added drum parts, recorded by Martin Fleischmann in Los Angeles, before it all came back to St Leonards for a mix where I also sneaked in a nice fat, squelchy Moog part. It developed quite naturally and easily, with each person’s contribution making the song bigger and more beautiful at every turn.”
Miki Berenyi added: “The lyrics are about being a friend to a long-term couple splitting. The tragedy at the centre is the people actually breaking up, but the repercussions ripple outward.”
Fine is back with ‘I Could’, the Copenhagen artist’s first release since last year’s Rocky Top Ballads. We loved that album, but with its rattling guitars, thick bassline, and hypnotic drums, the new track hints at a significant level-up. Hopefully it’s part of something bigger.
After working with MJ Lenderman for ‘Dancing in the Club’, This Is Lorelei has enlisted Snail Mail for a new take on ‘Two Legs’, which brims with a different kind of organic warmth. “When the idea of a deluxe edition with covers/collabs first came up the literal first thought I had was ‘I gotta get Lindsey to sing Two Legs,’” Nate Amos said. “I’ve loved Snail Mail ever since Water From Your Eyes had a chance to tour with them so it was a joy to hear Lindsey bless the song like this.” Lindsey Jordan added: “Within the last few years, following Nate’s projects, I have come to the conclusion he is the best songwriter of our generation as well as a great guy. Getting to do vocals on this was such a treat because I got to listen to it over and over again.”
“It felt right to title the record Forward because it’s a reunion of sorts, but we’re not going backwards,” Markéta Irglová said of the Swell Season’s first album in 16 years. “Both of us have grown and changed; we’re in different places and getting to know each other again as the new people we’ve become.” Yet the new single ‘Stuck in Reverse’ is all about wanting nothing but to go back. “After our whirlwind that led up to the Oscars and after, we were so busy and with that came a pressure that neither of us particularly wanted, and ultimately we kind of drifted in the middle of all of that hard work and celebration,” Hansard said. “We remained good friends, helping on each other’s records, keeping up with each other’s families. While touring my last record, I realized I just missed her. I remember calling Markéta and saying, ‘Do you feel like doing some gigs?’ From there the idea was to do a little recording and not put any pressure on it, just see what happens, and suddenly we found ourselves making a record.”
S. G. Goodman has shared ‘Satellite’, a propulsive, slow-burning single off her forthcoming album Planting by the Signs. “The whole premise behind the practice of Planting by the Signs, is that we can look to nature to understand when would be the best time to do something to get the best results,” Goodman explained. “I am interested in how man is obstructing nature and its ancient knowledge, while the human condition remains the same: that to survive we must be in harmony with nature and each other.”
Squid have released ‘The Hearth and Circle Round Fire’, a twitchy, ferocious outtake from their latest album Coward. “‘The Hearth And Circle Round Fire’ is a punky tune that came together quite easily but we felt dissatisfied with that ease and decided to record it as a 15 minute jam, rip it apart and tape it back together,” vocalist and drummer Ollie Judge said. “Lyrically, it was inspired by the dystopian worlds of Ray Bradbury’s Fahrenheit 451 and Kay Dick’s They, worlds which everyday people succumb to mass censorship and propaganda with only a small amount of people willing to fight against it.”
Florence Road, the Irish band currently working with Olivia Rodrigo/Chappell Roan collaborator Dan Nigro, have followed up their debut single ‘Heavy’ with a heartfelt new song called ‘Caterpillar’. It comes paired with a lo-fi live video where the four childhood friends perform the song in a bathroom, which underlines just how lush the studio version sounds.
Montreal-based singer-songwriter Brigitte Naggar, aka Common Holly, has dropped a new single from her forthcoming album Anything glass. ‘Enough’, which follows ‘Aegean blue’, gnaws at questions of worth and ambition just enough to throw its shiny veneer off balance. “This track represents a spikier part of the record,” Naggar explained. “It pokes out with sharper edges and a bit of noise. It speaks to the process of imagining that there could be such a thing as ‘enough-ness’, and asks us to answer—enough for who? And for what?”
Osmium is a new experimental supergroup made up of Icelandic composer and cellist Hildur Guðnadóttir, engineer and producer James Ginzburg, Senyawa vocalist Rully Shabara, and sound designer and producer Sam Slater. Their eponymous debut album arrives on June 20, and the first single ‘OSMIUM 1’ is as bone-chilling as it is enchanting. “When we recorded this track, Rully was completely in a trance — he went somewhere and then came back,” Slater recalled. “Likewise when we play this track live, every time I look up from the drums I see the audience totally locked in to Rully, pushed and pulled by the waves and intensity.”
Australian synth pop band Cut Copy are back with a new single, ‘Solid’, which is out today along with its B-side, ‘A Decade Long Sunset’. “I wrote the song as a reminder to myself that things will be ok, even when life gets turned on its head and it feels like there’s no way forward,” frontman Dan Whitford said of the glistening track. “I hope in some small way it gives other people a little nudge forward in the direction of their dreams. Hang in there… we’ll be solid.”
Los Angeles duo Dream, Ivory cite anime and J-pop as inspirations for their new LP, When You Come Back I Have So Much To Tell You, which is now set for release on July 18. Lead single ‘Solar Eclipse’ sounds as celestial as the title suggests. “’Solar Eclipse’ is a song that tells the story of two lovers destined to reconnect,” the band’s Louie Baello explained. “We wanted to explore a concept from nature as they find their way back to each other, using the idea of an eclipse to capture that emotional journey.”
Bleach Lab have announced their new EP, Close to the Flame, with the luscious ‘Feel Something’. “Feel something is about being locked in a slowly dying relationship, where you’re heavily dependent on another,” frontwoman Jenna Kyle said. “They impact you negatively, but you’re trapped in the cycle.”
“‘Hurt A Fly’ is my attempt to reflect on the person I was when we first started Keep,” the band said of their new single, which is taken from their upcoming record Almost Static. “It’s pretty surreal to begin something when you’re 17 years old and to still be doing it over ten years later. I was very hard on myself when I was younger and I think I made a lot of things worse than they needed to be. While it was definitely warranted at times, I think a lot of my struggle could have been avoided if I had known how to deal with my feelings in a productive way. I guess in summation, the song is about learning to give yourself grace every so often.”
Planning for Burial continue to impress with ‘You Think’, the ruthless, evocative second single from the forthcoming album It’s Closeness, It’s Easy. “‘You Think’ is the oldest song on the record, as it has already been a live staple for a number of years and the only one to survive the first attempt at making the album,” Thom Wasluck explained, continuing:
The lyrics evolved a few times over the years, but the core of it is about making sense of everything after coming out of the blur of a years long self-destruction party. My problems were of my own doing, and now I have to work to keep from falling back into the same pitfalls.
Musically, I wanted to push the idea of what I thought Planning For Burial could be. I wanted to have songs with more movement, upping the tempo and utilizing my voice a bit more than usual while also trying to retain the smeared textured of guitars and synths.
The ‘Mats were adverse to the idea of self-promotion in the video age; they just wanted to be a band. There’s parallels to that in todays music business where it’s often not good enough to be an artist; you now have to play the roll of content creator/influencer to appease the great algorithm just to get your music in front of people. It often feels anti-art.
I worked with Alana Wool to come up with a concept that pulls from the ‘Mats, complete middle-finger attitude that was also a piece of art that to me really encompasses the feeling of angsty boredom with my own memory of late nights drinking alone, shuffling around the house watching the hours/days/weeks/etc peel away.
Rival Consoles has previewed his ninth studio album, Landscape from Memory, with a fluid, searching new track called ‘Known Shape. “I’ve always been obsessed by controls on machines because they produce beautiful sounds and they have their own rhythms,” Ryan Lee West shared in a press release. “The drums are made from rotating switches and the synths are set in motion by invisible mechanical rhythms. Machines have a special connection to the human spirit, which is both good and bad but above all restless. There is a constant searching in ‘Known Shape’ for some kind of answer or emotion.”
CIVIC have a filthy new song out called ‘The Hogg’, lifted from their forthcoming LP Chrome Dreams. The track is about “staring into the abyss and seeing nothing but its pure beauty,” according to the band. “Surface level pleasure with sinister undertones. A porcelain dancer draped in flesh, pirouetting to the infinite beat. ‘The Hogg’ is my reality. ‘The Hogg’ is my destiny.”
Singapore indie rockers Subsonic Eye have announced their fifth album, Singapore Dreaming, which arrives on June 11 via Topshelf. It’s led by the infectious and gauzy ‘Aku Cemas’, of which vocalist Nur Wahidah said: “When I was unemployed for a couple of months, I was feeling this restless feeling. I couldn’t sit still but it felt like I had to. I would apply for 20 jobs a day and go back to watching movies on my laptop. It was a funny feeling – I finally had the time to do whatever I wanted. I could read, knit, craft, cycle. Like when I was employed, I looked forward to doing my favorite things during my free time. But this feeling of doom and uselessness just clouded over everything. I didn’t have the appetite to do things I loved because of the overwhelming anxiety over being unemployed. I didn’t want to be free again, I just wanted a job.”
spill tab has dropped ‘Hold Me’, an earnest, laid-back tune that serves as the final preview of her debut album ANGIE. “‘Hold Me’ was one of those special songs that poured out the day it was written,” she explained. “Sometimes songs take months or years to feel finished, I’m such an editor when it comes to my music, I love to cut and replace and add new parts here and there, or rewrite whole verses. But this one is really precious because it’s an honest snapshot of how I was feeling that day. I was sad and so lonely, and was processing a difficult breakup at that point. And so I love this song because it feels like a little world within a crystal, very honestly captured and well preserved.”
Los Angeles-based singer-songwriter, and producer Natalie Bergman has announced her sophomore record, My Home Is Not In This World – out July 18 via Third Man Records – with the nostalgic ‘Gunslinger’. “The title is an acknowledgement of my longing for this place over yonder,” Bergman commented “It represents my desire to not be a part of what’s going on digitally. I was trying to be the antithesis of a lot of modern music. There are some earthy sounds and many of the songs are about love. At the same time, it’s about finding my place on earth—even though I’ve never truly felt like I belonged here.”
Gordi has shared a propulsive new single, ‘Cutting Room Floor’, from her upcoming LP Like Plasticine. “‘Cutting Room Floor’ is a song about growing pains, about the slow splintering that happens between people,” she shared. “I took the song to Durham in North Carolina to work on with my friend Brad Cook. Matt McCaughan came over and played drums, and Brad and I filled in the rest.” She added, “It was one of those songs that seemed to expand to fit any idea, and it was a real joy to work on. Jared Frieder and I shot the video in a carpark in Dallas as the sun was setting in the middle of a sweltering heatwave. I ate a whole pack of Twizzlers when we finished in an effort to abate my delirium.”
Last month, This Is Lorelei announced the deluxe edition of 2024’s Box for Buddy, Box for Star Deluxe and shared the MJ Lenderman version of ‘Dancing in the Club’, which we named one of the best songs of March. Today, we get to hear Snail Mail’s Lindsey Jordan take on ‘Two Legs’, and it’s a lovely, satisfying collaboration. Check it out below.
“When the idea of a deluxe edition with covers/collabs first came up the literal first thought I had was ‘I gotta get Lindsey to sing Two Legs’,” Nate Amos said in a press release. “I’ve loved Snail Mail ever since Water From Your Eyes had a chance to tour with them so it was a joy to hear Lindsey bless the song like this.”
Jordan added, “Within the last few years, following Nate’s projects, I have come to the conclusion he is the best songwriter of our generation as well as a great guy. Getting to do vocals on this was such a treat because I got to listen to it over and over again.”
Box for Buddy, Box for Star (Deluxe) comes out this Friday, April 25. Check out our Artist Spotlight interview with This Is Lorelei.
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