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British Society and the Culture of Gambling

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When it comes to having a bit of a flutter, Britain takes the biscuit. Gambling has been woven into the fabric of British society for centuries. From grand old racecourses to local bingo halls, “the British love a good gamble, and it’s been that way for ages” said the online casino website FruityKing.co.uk — In the modern world, however, the humble punt has evolved far beyond the physical into a whole new realm—online gambling. But while the medium has changed, the cultural enthusiasm remains very much intact. And in typical British fashion, it’s all done with a wink, a cup of tea, and a sense of humour.

Britain’s love affair with gambling can be traced back to Roman times, when our ancestors—possibly while wearing togas and enjoying questionable Roman wine—would place wagers on games like dice and early forms of board games. Fast forward a few centuries, and by the time of Henry VIII, gambling was a staple of everyday life. Henry himself was a notorious gambler, although he banned it for the lower classes, feeling it was a “distraction” from their work. Yet, true to the British spirit of defiance, the general public found their way around it. From then on, gambling became a sort of national pastime—betting on everything from cockfights to card games.

In Victorian Britain, with its booming industrial cities, gambling reached new heights of popularity, partly as an escape from the harsh realities of working-class life. Betting shops popped up in back alleys, and racecourse attendances were through the roof. The 1920 Betting Act brought gambling a bit more into the light, legalising betting on horse racing. Yet, gambling still retained a rough-and-ready image, a little risqué and certainly outside the bounds of what the upper classes deemed “proper.”

Then came the 1960s, the swinging decade when Britain shook off its post-war woes and fully embraced gambling as part of its social culture. The 1961 Betting and Gaming Act was a game-changer. Suddenly, betting shops were legalised, and it wasn’t just about the races anymore. Punters could now bet on everything from boxing to football—and boy, did they take to it. Some might say the British enthusiasm for a good bet became as iconic as fish and chips. It wasn’t just about winning money; it was the thrill, the social camaraderie, the “what if” moments that made it so compelling.

Enter the modern era and the birth of online gambling in the late 1990s. Britain, being the ever-enthusiastic adopter of technology (after all, we did invent the internet…sort of), took to online gambling like a duck to water. Gone were the days of having to visit the bookie or put on your best Sunday attire for the bingo hall. Now you could place a bet on the football while lounging on your sofa, maybe with a cuppa and a biscuit in hand. Online gambling made betting more convenient, more accessible, and in a sense, more British. Why go out into the cold when you could enjoy a little flutter from the comfort of your home?

The rise of online gambling was aided by the Gambling Act of 2005, which officially legalised and regulated online casinos, betting sites, and even those addictive little “fruit machines” we all know and love. The law ensured that all online gambling operators in Britain were licensed and held to strict standards, which gave punters peace of mind that their winnings wouldn’t just disappear into the ether. It was this regulation that helped make online gambling so mainstream, so much so that by the 2010s, over half of Brits had placed a bet online at least once.

Britain’s online gambling culture has become unique in its own way. British gamblers aren’t just about the big wins; it’s the little victories that count too. The rise of fantasy sports betting, for example, lets players feel like mini-managers, putting together dream teams and competing with their friends and colleagues. Then there are the quirky bets, where you can wager on things like the outcome of a reality TV show, the next James Bond actor, or even, during particularly British moments, the likelihood of a white Christmas. It’s all part of that British sense of fun, where we’ll have a bet on pretty much anything just because we can.

One of the quirks of Britain’s online gambling scene is the loyalty that gamblers show to their preferred platforms. Many Brits are deeply attached to particular betting sites, much as they are to their local pub. They know the odds, the best bonus offers, and have their go-to favourite games. With loyalty programmes and seasonal promotions, online casinos and betting sites make it easy to come back, sweetening the pot with free spins or special offers, often tailored to British holidays like Boxing Day or the Queen’s birthday (or now, the King’s).

Let’s not forget bingo—a game as British as afternoon tea. Online bingo has taken the country by storm, drawing players young and old alike. Bingo halls may have declined, but online bingo communities are thriving. Platforms often come with live chat, giving players the chance to exchange cheeky banter and feel part of a community without leaving their homes. Some would say it’s the modern equivalent of the traditional bingo hall, just with emojis and virtual daubers. It’s a British pastime reborn for the digital age, complete with colourful lingo, competitive jackpots, and of course, a bit of humour.

Britain’s relationship with gambling is a mix of tradition and innovation. The thrill of betting on the horses or placing a high-stakes wager on a poker hand is as alive today as it was centuries ago, but now it’s just a few clicks away. The popularity of live casino games also speaks to the enduring appeal of that face-to-face interaction. Live blackjack and roulette allow players to enjoy a “real” casino experience, complete with a live dealer, all while sitting in their living rooms. It’s a nod to the old days when punters would gather around a smoky table, eyeing each other’s hands and waiting for the next card.

While online gambling has its critics—some argue it’s too accessible and can lead to addiction—it’s impossible to deny its popularity. It has become a staple of British culture, and not just for young people. Studies show that people from all age groups, including pensioners, are regulars on online gambling platforms. The industry’s clever use of familiar British cultural references and themes only deepens this connection. Whether it’s bingo games with London landmarks or slot machines inspired by popular British TV shows, online gambling knows exactly how to tap into Britain’s nostalgic, quirky, and sometimes ironic sensibilities.

So here we are, centuries after Henry VIII placed his own bets, and gambling is still part of the British DNA. From brick-and-mortar betting shops to online casinos, the game has changed dramatically, but the spirit has remained the same. Britain’s love for a good gamble endures, adapting to the times and technology without losing that uniquely British sense of humour and thrill for the “what if.” And while the future of online gambling might bring even more technological innovations, one thing’s for certain—Britain will always have a place at the virtual table, probably with a cheeky bet on the side.

Mount Eerie Releases New Song ‘Non-Metaphorical Decolonization’

Ahead of the release of Night Palace, his first new album as Mount Eerie in five years, this Friday (November 1), Phil Elverum has shared one more single called ‘Non-Metaphorical Decolonization’. He’s also announced a 2025 North American tour. Check out the track and find the list of dates below.

“The final single to be released in advance of Night Palace is a break in the clouds, a clear voice bringing down an unambiguous hammer onto the ground of here and now: We live in the raw wound of a stolen continent empowered by multi-generational internalized racist destruction,” Elverum explained. “Our self-serving dishonesty and subliminal ignorance will only keep us trapped as cycling perpetrators, so why not look right at the thing and give it a name? Liberate all, past and future! Start with giving up everything.”

Released via his own label P.W. Elverum & SunNight Palace includes the previously unveiled singles ‘I Saw Another Bird’, ‘Broom of the Wind’, and ‘I Walk’.

Mount Eerie 2024-2025 Tour Dates: 

Tue Nov 19 – Brooklyn, NY – Warsaw
Thu Nov 21 – Los Angeles, CA – The Bellwether
Thu Feb 13 – Vancouver, BC – Rickshaw Theatre #
Fri Feb 14 – Seattle, WA – Neptune Theatre #
Sat Feb 15 – Portland, OR – Aladdin Theater #
Mon Feb 17 – San Francisco, CA – Great American Music Hall #
Tue Feb 18 – Ojai, CA – Ojai Valley Woman’s Club #
Wed Feb 19 – San Diego, CA – Music Box #
Thu Feb 20 – Tucson, AZ – 191 Toole #
Fri Feb 21 – Santa Fe, NM – Meow Wolf #
Sat Feb 22 – Boulder, CO – Fox Theatre #
Sun Feb 23 – Salt Lake City, UT – Soundwell #
Mon Feb 24 – Boise, ID – Shrine Social Club #
Sun Apr 13 – Chicago, IL – Thalia Hall %
Mon Apr 14 – Detroit, MI – El Club %
Tue Apr 15 – Toronto, ON – The Concert Hall %
Wed Apr 16 – Montreal, QC – Théâtre Fairmount %
Thu Apr 17 – Portland, ME – SPACE %
Fri Apr 18 – Cambridge, MA – The Sinclair %
Sat Apr 19 – Philadelphia, PA – Union Transfer %
Sun Apr 20 – Washington, DC – The Atlantis %

# with Ragana
% with Hana Stretton

Kassie Krut Announce Debut EP, Unveil New Song ‘Racing Man’

Kassie Krut – the trio featuring Kasra Kurt and Eve Alpert (of the defunct Philly experimental outfit Palm) and Matt Anderegg (Mothers, Body Meat) – have announced their debut self-titled EP. It arrives December 6 via Fire Talk Records. Along with the previously released song ‘Reckless’, it includes a new track called ‘Racing Man’. Check out a video for it below.

Kassie Krut EP Cover Artwork:

Kassie Krut EP Tracklist:

1. Reckless
2. Racing Man
3. United
4. Espresso
5. Hooh Beat
6. Blood

Fabiana Palladino Releases New Single ‘Drunk’

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Fabiana Palladino is back with a new single, ‘Drunk’. Following her self-titled debut album, which arrived in April, the track was self-produced and recorded at London’s Abbey Road Studios in August alongside drummer Ellis Dupuy and guitarist Joe Newman, with her father Pino Palladino later adding bass. Give it a listen below.

“’Drunk’ was written with the chaos of modern dating as my backdrop: trying to navigate the apps, the blurred line between casual and serious, experiencing the evolving terminology in real life — situationships, love bombing, ghosting, breadcrumbing,” Palladino explained in a statement. “Are they new behaviours, or do we just have new words for them? I’m not sure, but I know it’s not just me dealing with how complicated it all seems to feel these days. In ‘Drunk’, I’m unsteady, but I’m leaning into the uncertainty and the drama, trying to find some kind of art and meaning in it. ‘Cause ‘It’s no fun on your own, and peace is boring.”

Wishy Drop New Single ‘Planet Popstar’

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Wishy have dropped a new single called ‘Planet Popstar’. It’s the band’s first new music since the release of their debut LP, Triple Seven, earlier this year. Check it out below.

“This song is about the feeling of longing for someone or something which, by all accounts, seems entirely out of reach,” the band’s Kevin Krauter said of ‘Planet Popstar’. “They say distance makes the heart grow fonder. We recorded this song during the Triple Seven sessions at the end of last year, but the song ultimately didn’t make it onto the album.”

Read our Artist Spotlight interview with Wishy.

TV on the Radio’s Tunde Adebimpe Signs to Sub Pop, Shares New Single ‘Magnetic’

TV on the Radio frontman Tunde Adebimpe has shared a new single, ‘Magnetic’. It marks both his solo debut and the first release at his new label home Sub Pop Records. Adebimpe also directed the song’s music video, which you can check out below.

Sub Pop co-founder Jonathan Poneman said of the signing: “We heartily welcome Tunde Adebimpe to Sub Pop’s roster of artists. His inclusion makes the whole lot better – and a whole lot classier! We’ve waited 20-plus years for Sub Pop to earn the chance to be Tunde Adebimpe’s label.”

TV on the Radio is celebrating the 20th anniversary of their debut LP, Desperate Youth, Blood Thirsty Babes, with an upcoming run of sold-out shows in New York, Los Angeles, and London.

Mogwai Announce New Album ‘The Bad Fire’, Release New Song ‘Lion Rumpus’

Mogwai have announced their 11th studio album, The Bad Fire. The follow-up to 2021’s As The Love Continues is set for release on January 24 via Rock Action. It includes the previously unveiled single ‘God Gets You Back’, which opens the LP, as well as the new song ‘Lion Rumpus’. Check out its accompanying video, directed by longtime collaborator Antony Crook, below, and scroll down for the album’s cover artwork and tracklist.

Mogwai recorded the new album in Lanarkshire with producer John Congleton. “After the high of putting out As The Love Continues, the following years were personally hard for us,” the band shared in a press release. “We’ve dealt with a lot of loss and in Barry’s case a serious family illness with one his daughters. Getting back together to write and record this record felt like a refuge and with John Congleton we feel that we’ve made something special. We often hear from people that our music has helped them get through hard times in their lives and for once I think it applies to us as well.”

The Bad Fire Cover Artwork:

The Bad Fire Tracklist:

1. God Gets You Back
2. Hi Chaos
3. What Kind of Mix is This?
4. Fanzine Made Of Flesh
5. Pale Vegan Hip Pain
6. If You Find This World Bad, You Should See Some Of The Others
7. 18 Volcanoes
8. Hammer Room
9. Lion Rumpus
10. Fact Boy

Richard Dawson Announces New Album ‘End of the Middle’, Shares New Single

Richard Dawson has announced his latest LP, End of the Middle, which will be released on February 14 via Domino. The follow-up to 2022’s The Ruby Cord is led by the single ‘Polytunnel’, which arrives with a video directed by James Hankins. Check it out and find the album cover and tracklist below.

“I think I know what’s happening in the song, but hopefully that’ll be different for each person listening,” Dawson said in a statement. “I like that the line ‘Out the gate and down the lane’ – it could mean going down the allotment, or it could mean going somewhere else. Tunnel is obviously a very loaded word. There’s possibly a lot of drama happening outside of the lines of the song…. Or not. It might just be a song about an allotment.”

Introducing End of the Middle, he shared: “I wanted this album to be small-scale and very domestic. To be stripped back, reconnect with the basics and let everything speak for itself – to be really stark and naked by just putting the words and melodies out there.”

“It zooms in quite close-up to try and explore a typical middle class English family home,” he added. “We’re listening to the stories of people from three or four generations of perhaps the same family. But really, it’s about how we break certain cycles. I think the family is a useful metaphor to examine how things are passed on generationally.”

End of the Middle Cover Artwork:

End of the Middle Tracklist:

1. Bolt
2. Gondola
3. Bullies
4. The question
5. Boxing Day sales
6. Knot
7. Polytunnel
8. Removals van
9. More than Real

Album Review: Laura Marling, ‘Patterns in Repeat’

Eight solo albums into Laura Marling‘s career, one would be tempted to describe Patterns in Reat using a lot of the same adjectives that have long defined her songwriting: intimate, stunning, sincere. To celebrate Patterns in Repeat on those terms might also be a way to make up for lost time – the record marks the longest wait between new material since the 34-year-old first put out music as a new adult – especially considering that 2021’s Animal, her second collaborative album with Mike Lindsey under the name LUMP, marked another stylistic departure. (“It felt like getting the feeling back of making the first album you’ve ever made,” Lindsay said at the time.) But while Patterns in Repeat falls spiritually in line with 2020’s Song for Our Daughter and a lot of Marling’s past output, we’ve never heard her quite so unadorned and unguarded, her heart both lightened and moved by the confines of familiar spaces. Intimate, gorgeous, all that still is true – but it’s also tangibly her homeliest and most lived-in record to date.

The lived-in aspect is obvious: in contrast to Song for Our Daughter, which was addressed to and revolved around a fictional daughter, Patterns in Repeat was written after the birth of her daughter in 2023. Indeed, Marling often had her daughter beside her as she crafted these songs, turning her living room into a recording studio and rendering them like stolen moments in the everyday; the intimacy is ever-present, just sneaking in with each take. You don’t need a reviewer to tell you, though: a baby cooing is among the first sounds we hear on the opening track, ‘Child of Mine’, and the lyrics are descriptively autobiographical: “You and your dad are dancing in the kitchen/ Life is slowing down but itʼs still bitchin’.”

Producer Dom Monks suggested – “argued,” per press materials – to properly re-record the tracks in his studio, but Marling wanted to preserve the raw material. She wasn’t, however, against fleshing them out in ways that not only beautify but animate the subtleties of – and subtle differences between – these songs, like the backing vocals that make ‘Child of Mine’ ever so tender. With Leonard Bernstein’s West Side Story score as a reference, Marling handed the recordings to Rob Moose, whose string arrangements cradle ‘No One’s Going To Love You Like I Can’ with a firmness the piano can barely reach as she delivers the line, “If life is just a dream/ Iʼm gonna make it mean something worth a damn.” And Monks works his magic on songs like ‘Your Girl’, which haunts and quivers in its closeness, balancing each new sound that unfurls and cutting it somewhere between the naked feeling of aloneness and eternal connection. The vocal effects clouding the word “abstract” on ‘Patterns’ is another brilliant touch.

The album’s production and arrangement ultimately befit its subject matter: Patterns in Repeat may begin with the first song Marling wrote after her daughter’s birth, anchoring us in the present, but once her new reality sinks in, she wanders further off. And the more she veers beyond, but always around, the record’s domestic framing, the more she can stretch its sonic palette. The middle of the album in particular sees Marling slipping into the deeper recesses of memory, tending to the quiet and uncharacteristically ominous mourning of ‘The Shadows’, perhaps one of her most striking compositions. It’s followed by the instrumental ‘Interlude (Time Passages)’, which links Marling’s clear-eyed meditations with the strange dreamworld she invokes with LUMP. Then she turns to tunes rooted in a time she hardly or couldn’t possibly remember: with ‘Looking Back’, she tackles a song her father wrote in the ’70s, her hushed vocals keeping its unabashed nostalgia at bay, while ‘Caroline’ tells a story out of a half-remembered chorus. The lullaby that closes off the album, too, feels timeless.

So while Patterns in Repeat is fully immersed in and awed by the world of new parenthood, its tidal shifts and simple rhythms, it grows all the more fascinated by its relationship with the past; the ways family, lineage, and longing penetrate the domestic sphere. Looking back and beyond autobiography is how Marling delineates the titular patterns, but it’s also how she contemplates her own place, not just as a mother, but as a songwriter – two roles often presumed to be conflicting. On ‘Song for Our Daughter’, she sang, “Lately I’ve been thinking/ About our daughter growing old/ All of the bullshit that she might be told”; now, she affirms, “But Iʼve spoken to the angels who protect you/ Because youʼre mine, they cast their golden light across this child.” Marling threads her creative output through Patterns in Repeat, too, even repurposing a string passage from Once I Was an Eagle to wind down the title track. All the way back in 2011’s ‘Don’t Ask Me Why’, she sang, “I was thrown and blown and tossed and turned until/ Time found its hand and called an end.” Time still has the same power, she realizes, but the relief comes in its circular nature, the interminable now feeding into history. “Long nights, fast years, so they say,” she sighs at the beginning of the album, then weaves them all into one.

Cloakroom Release New Song ‘Unbelonging’

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Cloakroom have signed to Closed Casket Activities, marking the announcement with a new single called ‘Unbelonging’. The track arrives with an accompanying video filmed over the course of the band’s recent European tour. Check it out below.

“It’s a pop song wielding 140 bpm of optimism that can fall apart and dishearten just as quickly as it captivates – Cloakroom meets Psychedelic Furs,” the group said of the new song in a statement. About the visual, they added: “Similar to a Crowelian ceremonial dagger, all the lyrics to the new record were crafted under the cover of darkness, predominantly in a moving vehicle; predominantly leaving any number of border town bars. That’s why we chose to do a ‘found footage’ kind of delivery method for the video.”

According to a press release, the follow-up to 2022’s Dissolution Wave is due next year. ‘Unbelonging’ and the rest of its songs were tracked in December of 2023 with engineer Zac Montez at Electrical Audio in Chicago and Rec Room Recording in Des Plaines, Illinois.