little bit, the project of Los Angeles-via-Boston singer-songwriter Hannah Liuzzo (formerly of Lilith), has shared a new single. ‘out to dry’ is taken from her upcoming debut EP, talk a blue streak, which arrives September 20 via Hit the North Records. Listen to the new track below.
“‘Out to Dry’ is the emptiness you’re left with after you decide to consciously let go,” Liuzzo explained in a statement. “For me, letting go requires giving myself permission to wallow and retraining my thoughts to focus on other things. When you’re in the throes of a fixation, letting go can feel like the completely wrong decision, and it’s not until you’re out of the thick of the feelings that you can look back and realize it was the right thing for you.”
talk a blue streak Cover Artwork:
talk a blue streak Tracklist:
1. lead you on
2. long drive
3. on the mend
4. lying to you
5. out to dry
6. utility thought
Poise, the moniker of NYC-based songwriter Lucie Murphy, has announced her sophomore album, Hell or High Water. The follow-up to 2021’s Vestiges is set to arrive on October 4. It features collaborations with Half Waif and TOLEDO, and you can hear its new single ‘Give’ below.
“It’s about the ways in which I lose myself in my relationships,” Murphy told FLOOD. “If I feel close to someone, I cling to them, for better or for worse.”
She added: “I learned to trust my instincts as a producer while arranging ‘Give’. It’s only the second song I’ve completed in the pop sphere; I mapped out the structure entirely on my own in Garageband before bringing it to my co-producer, Sam Skinner. Sam is a very discerning listener—his enthusiasm for the song instilled a lot of confidence in me. We replaced some of the Garageband sounds with higher-quality samples and acoustic instruments, but ended up keeping a lot of the built-in synth patches, too. My drummer, Theo Munger, really let loose in the outro. We’ve been playing music together since we were kids, yet he still manages to exhibit parts of his musicality I’ve not yet witnessed. His performance is raw and powerful. It still gives me chills when I hear it.”
Dawn Richard and composer Spencer Zahn have unveiled a new track, ‘Traditions’. It’s the second single from their upcoming collaborative album, Quiet in a World Full of Noise, which is out October 4 via Merge and was led by ‘Breath Out’. Take a listen below.
“Dawn’s intimate vocal style on this brings me into her world while also making me think of my own life and family,” Zahn said of the song’s production. “I wanted to frame that feeling in the composition.”
Quiet in a World Full of Noise follows Richard and Zahn’s 2022 collaboration Pigments.
Drake has shared 100 gigabytes of data, including three new songs, behind-the-scenes clips, studio footage, unused cover art, and more. The database is available on a new website, 100gigs.org. The three new songs – ‘It’s Up’ featuring Young Thug and 21 Savage, ‘Blue Green Red’, and ‘Housekeeping Knows’ featuring Latto – can be found on a folder titled “NEW.” One notable clip sees Drake rapping the reference hook for Kanye West‘s 2018 track ‘Yikes’.
This marks Drake’s first release since his feud with Kendrick Lamar, outside of features on tracks like Snowd4y’s ‘Wag Gwan Delilah’ and Gordo’s ‘Sideways’. During an appearance at PartyNextDoor’s Toronto concert last weekend, Drake announced he is working on a collaborative album between them that’s set to drop this fall.
Margaret Chardiet has announced a new Pharmakon LP titled Maggot Mass. The follow-up to the New York noise musician’s 2019 record Devour will arrive on October 4 via Sacred Bones. Today’s announcement comes with the release of the new single ‘WITHER AND WARP’. Listen to it below, and scroll down for the album cover and tracklist.
“Maggot Mass is bred out of a disgust for the dysfunctional relationship that humans have developed with our environment and the rest of life on earth,” Chardiet explained in a press release. She went on:
It touches on the wounds of loneliness inflicted by that broken bond, and asks us to face the mirror in acknowledgement of our personal and systemic culpability.
What peace can be made with privilege, when we understand the true cost of our comfort is death and not dollar? What peace can be made with death when we impose on it the same bankrupt pecking order in which we organize our lives? To what extent is life worth living in the solitude of this self-imposed species loneliness?
Human beings measure our worth only in relation to our selves, on the scale of an endless and exponential accumulation of things. This is what we call wealth. This is what we deem to be power. We calculate our meaning in money, assets and objects. Influence, superiority, and control. Western heritage dictates a hierarchy of beings, and places ourselves at the very apex of evolution. We think of ourselves as somehow separate from the rest of the “natural world,” its’ primary narrators, and at the center of every orbit. This delusion transforms bodies into objects, land into property, and people into expendable tools.
If our value were determined instead by the richness of our reciprocation to the very fabric of being, the very existence of existence, our role in the ecosystem of land and of people… then who could say that a human being has more worth than a measly maggot?
A maggot eats death and alchemizes it back into life: breaking down matter and recycling its’ nutrients. One gift begets another. It soon undergoes its’ miraculous transfiguration into a fly, and continues on to pollinate 70% of plants: midwives and messengers to the flora of Earth. And we? We pollute instead of pollinate. A select few profit from scouring, pillaging and staining the dirt at the expense of the many, with net losses to the diversity of life on the planet, and by the degradation and death of those who are trampled just to serve their greed.
In an attempt to reconcile grief and loss on both a personal and global scale, I sought solace by envisioning rebirth through death. I longed to revel in the reciprocation of decay, to celebrate the beauty of regeneration through degeneration. But these dreams were impossible not to wake from, and I had to acknowledge the gaping chasm between those possibilities for communion with the earth and the feasibility of that connection in this reality, under the thumb of our ruling systems. The grip of capital that squeezes dry every facet of our lives and even our deaths.. I imagined one of many possible paths through this chasm. What if our final choice, our last act and lasting legacy was one of giving back what we received from the chaos of creation. If we gave not only our lives but our deaths to the cause of the existence of existence…
Lyrically, in the past I didn’t allow myself to rhyme, use traditional structures of poetry, and avoided pronouns at all costs. So this time I incorporated all of those tropes, and wrote from a more familiar and direct voice to the listener. I also wanted to explore new ways of using my voice besides speaking or screaming, and experimented with new vocalizations balancing strain and hoarseness with melody and cadence.
Compositionally, I never allowed myself to use any traditional song structures, and this time allowed myself to dabble into “music” instead of strictly “noise”. This resulted in “solos” and “bridges” and “verses and choruses” sprinkled throughout the record.
once I slough off this human skin I will find my home and ancestral kin… in the coffin-birth of my cadaver’s ecosystem
Discussing ‘WITHER AND WARP’, Chardiet had this to say:
The lyrics for this song began with a euphoric and vividly hallucinatory dream. In it, “I” did not exist, simply was. Without memory, identity, or ego. Suspended outside of time – only present moment. Oblivion. Without true thought, merely sensations that felt as comforting as they were unfamiliar: I sensed the prickled growing pains of an extending root, and the tingle of minerals soaking through it. I heard a chattering flow of information pass through me, all chemical communication. A vague awareness collected slowly, of being the moss that cushioned a stone. Enraptured in the beauty of existence as a plant, a producer who takes only sun, air, and water to reciprocate multitudes in return.
In this dream, I my “self” was dead. I had passed away into the earth, becoming part of it, or many parts of it – through the divine transfiguration of decay. And I was more content in this mode of being than I ever was with life as a human. This dream-logic hinged upon the hope that when we die, the body merely breaks down back into the energy that was trapped inside its’ matter. And all the carrion-eaters who might devour “you” will surely take “you” into “them”, rendering your death back into the folds of life. This song represents the ecstasy of that dream… joy in (a lack of) existence, the self scattered throughout many forms of being.
How sweet the vision of a death without waste. But as always, we must awaken from such sweet dreams…
Fontaines D.C. have released a new single, ‘Here’s the Thing’, lifted from their upcoming LP Romance. Following previous cuts ‘Starbuster’ and ‘Favourite’, the track arrives with an accompanying video directed by Luna Carmoon. “It’s an anxious tune that twists and turns in what it wants, back and forth between pain and numbness,” frontman Grian Chatten explained in a statement. Watch and listen below.
Jordana has announced a new album called Lively Premonition. The LA-based songwriter’s Face the Wall follow-up is set to arrive on October 18 via Grand Jury. It includes the previously unveiled song ‘We Get By’, as well as the new single ‘Like a Dog’. Check it out and find the album cover and tracklist below.
“It’s about fawning over someone so entirely that any ounce of attention from them feeds the desire even stronger,” Jordana said of ‘Like a Dog’ in a statement. “Even if that means being treated in an inhumane way…like a dog.”
Lively Premonition was made over the course of 2023 with producer Emmett Kai. “It’s about the cycle of love, heartbreak, lust, party-going, self acceptance, connections, and rediscovering yourself over and over again,” Jordana explained. She added, “The whole record is this mixed bag of tricks with plenty of cheeky lyrical and instrumental decisions. We’re taking tons of risks here.”
Lively Premonition Cover Artwork:
Lively Premonition Tracklist:
1. We Get By
2. Like A Dog
3. Heart You Hold
4. This Is How I Know
5. Multitudes of Mystery
6. Raver Girl
7. Wrong Love
8. Anything For You
9. The One I Know
10. Your Story’s End
Clairo has shared a cover of Lana Del Rey’s ‘Brooklyn Baby’, which originally appeared on 2014’s Ultraviolence. It arrives as part of the Spotify Singles series, and you can listen to it below.
Clairo’s third album, Charm, arrived last month. The singer-songwriter recently shared a music video for the album track ‘Juna’, which she also performed on The Tonight Show.
TR/ST has put out a new single, ‘Dark Day’, which was produced by Cecile Believe and Nightfeelings. It’s set to appear on his forthcoming album Performance – out September 13 – alongside the previously unveiled ‘All at Once’ and ‘Soon’. Listen to it below.
“I think there’s something in the song about the flashes that come to you when you try to fall asleep, flashes that show you where you have unfinished business,” Robert Alfons said of ‘Dark Day’ in a statement. “It was such a pleasure working with Cecile Believe and Nightfeelings on production for this track.”
Porches has unveiled ‘Crying at the End’, the final preview of his upcoming album Shirt – out September 13 via Domino. It follows the previously shared singles ‘Rag’, ‘Itch’, and ‘Joker’. Check out its Reno Silver-directed video below.
