Beyoncé has dropped a remix pack of her latest single, ‘Morning Dew (Donk)’. The four-track EP features contributions from her husband, Jay-Z, credited as JAŸ-Z. “Top of the top, sloppy as a morning dew/ The watch is vintage, I don’t need nothing new coming through Malibu in the old school,” he raps. Take a listen below.
‘Morning Dew (Donk)’ is taken from the 20th anniversary edition of Beyoncé’s second studio album, B’Day, which is set for release on September 4.
Logchopper holds a specific spot in MM2 history as the first Ancient weapon shaped like an axe rather than a scythe, a format the game later reused for items like Icebreaker, Swirly Axe, and Traveler’s Axe. It came from the 2019 Christmas Event, where players had to reach tier 30 of the Main Event and spend 70,000 Snow Tokens to unlock it.
The design fits the holiday theme closely, a gingerbread blade with golden frosting held together by a thin candy cane handle, finished off with a golden orb and a sprig of holly at the base. Despite the detailed look and its Ancient rarity, Logchopper has settled into one of the lower value spots among Christmas-themed weapons.
In this article, we’ll explore how much Logchopper is worth in MM2, what kept its value from climbing over the years, and what to know before trading for one.
Logchopper currently holds a value of 18 on most mm2 values websites including BloxSwaps and MM2Values, with demand being low. That puts it near the bottom of the Ancient tier, which is unusual since Ancients typically hold more weight in trading than most Godlies.
A lot of that comes down to how the item’s grown less relevant over time. Logchopper has been tradeable since the 2019 event ended, giving supply years to settle into the market, and its axe design, while distinct at release, doesn’t stand out as much now that the game has released several similar Ancient axes since.
Logchopper was originally obtainable by purchasing tier 30 of the Main Event for 70,000 Snow Tokens during the 2019 Christmas Event. That put it below the highest tiers of that event’s ladder, making it more accessible than some of the top-tier rewards from the same year.
Its design leans fully into the gingerbread theme. The blade is made of gingerbread with golden frosting and a silver edge with sharp indents, held together by a thin candy cane handle. A golden orb sits above the handle, with a smaller gingerbread blade and its own silver edge attached to it, and a piece of holly finishes off the bottom of the pommel.
Since the 2019 event has long ended, the only way to add Logchopper to an inventory now is through mm2 trading. Given how low its demand runs, it’s worth checking current values before agreeing to anything, since items like this one don’t move often enough for most traders to have a solid read on what counts as fair.
Logchopper also has a set of rare variants tied to the 2019 Christmas Event Coin-Collecting Leaderboard, the Blue, Bronze, Silver, and Gold Logchopper. These share the same design as the standard version but swap the red coloring for their respective theme, with Gold Logchopper going to whoever finished first that year.
All four variants are untradable, which puts them completely outside the regular trading scene. They exist purely as a record of that leaderboard’s top finishers rather than anything a trader could realistically pursue, unlike the standard Logchopper which remains available through trading.
Logchopper holds Ancient rarity on paper, but years of steady supply and an axe design that’s since become common have kept its value low. If you’re looking to add one to your inventory, trading remains the only option, so it’s worth confirming current values before finalizing any offer.
Real talk. You’re not a student if you haven’t complained about schoolwork. Not the best attitude to have, but it’s normal. As such, your parents most likely gave you the “Back in my day” talk. Like how they had to rough it without the advanced devices and the internet that many enjoy today. Reading thick books and studies. Jotting pages of notes. Writing thousand-word essays. Solving equations manually. But somewhere between the all-nighters and the group projects, modern students face their own hardships. That’s what AI tools for students are for.
Modern technology introduced students to a fast-moving world. That somehow contributed to higher expectations and standards. So it’s no surprise that the Digital Education Council’s survey shows that nearly all students (92%) use AI. However, choosing among several AI tools has, ironically, become homework of its own. The good news is that this guide narrows the selection to those worth adding to everyday academic life.
ChatGPT is essentially an all-purpose student partner. Practically a tutor who never sleeps and never judges user questions. Students can use it to explain difficult topics, brainstorm essay ideas, generate study guides, practice interview questions, or summarize lengthy reading materials. And here’s the thing: Users can ask it to break down a concept five different ways until one finally clicks. Adjusting to the student’s level of understanding. ChatGPT allows for follow-up questions that support deeper learning.
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Getting stuck on how to structure a 15-page research paper is no longer a standing dilemma. ChatGPT can help students turn a messy pile of notes into a working outline. It can even catch weak arguments to avoid excessive revisions later on.
Putting an end to research gruntwork is the specialty of Perplexity AI. Compared to chatbots that work with trained data, this one works like a search engine that actually reads the results for users. Every answer and result comes with citations from the most trusted sources. For verification, each citation comes with the corresponding link. No need to scroll through dozens of tabs. This makes it easier for students to verify information, compare viewpoints, and discover recent studies.
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Perplexity AI can help journalism students build a story about local housing policy with greater confidence. It can quickly map the major players and recent legislation. Students can then follow the citations for actual data and quotes.
Gemini Notebook approaches studying differently. It’s centered around a student’s own materials. Users upload audio files, PDFs, personal notes, websites, YouTube videos, and more. The AI then trains on them to answer questions strictly from those sources. It can do almost anything that helps a student learn more efficiently. Summarizing chapters. Identifying connections between topics. Generating study guides. Gemini Notebook can even create podcast-style audio overviews for revising on the go.
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Juggling multiple research papers for a literature review is mind-draining. And Gemini Notebook prevents that. Students can upload the resources and have it identify where the authors disagreed. Decreasing manual cross-referencing.
Stop the guesswork with grammar, punctuation, sentence patterns, and such. Grammarly helps students write with less uncertainty as they type. Real-time quality checks. It comes with an AI writing assistant that aids in improving clarity, vocabulary, and overall readability. Even the small stuff that is easy to miss can be fixed. Comma splices, passive voice, and inconsistent tone. And it’s no lazy writing. Grammarly’s actual features allow learners to improve their writing with explanations behind each suggestion.
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Grammarly can help a university senior polish a scholarship application with precision. This AI tool can improve sentence flow and kick out awkward phrasing. This makes it easier to present a more professional final draft.
Wolfram Alpha doesn’t just answer like a chatbot. It computes. So obviously, it’s intended for students tackling topics such as Mathematics, Science, society and culture, and everyday life. Students can feed it an equation, a chemical formula, or a stats problem in natural language or specific expressions. It returns not only the answer, but also the step-by-step solutions. On top of that, Wolfram Alpha can do analysis and generate reports.
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Engineering students can solve differential equations faster with Wolfram Alpha. It helps verify calculations, visualize functions, and understand each step. This allows students to catch exactly where an error crept in.
Our parents indeed had it hard back then. But those challenges actually still exist, just in a different form. That’s why AI tools for students matter. Not to spoil them. But to help them keep up with current best practices.
Still, not every AI tool serves the same purpose. ChatGPT explains. Perplexity AI researches. Gemini Notebook organizes. Grammarly polishes. Wolfram Alpha calculates.
Don’t rely on one platform. Consider building a toolkit that matches your coursework. And remember, they only complement how students already study, not do the work for them. With a healthy dose of double-checking, these tools can genuinely support academic success.
For more smart solutions learners can use, check out our lists of AI tools for academic writing and text humanization.
Can someone practise piano seriously in a small apartment or compact home? Yes. A well-designed foldable digital piano can provide a full-sized playing experience without taking over the room.
For many learners, limited space is one of the biggest barriers to regular practice. A fixed piano setup can occupy a permanent corner, which may not suit a bedroom, studio apartment, shared home, or multipurpose living area.
The TERENCE V70 foldable digital piano addresses this issue by combining a full-size 88-key layout, fully weighted hammer-action keys, a 50W four-speaker sound system, an intuitive LED touch panel, modern connectivity, and a body that folds for easier storage.
Modern living spaces often serve more than one purpose. A living room may also function as a workspace, dining area, or study zone. In such homes, a large instrument that stays in place all day can feel inconvenient.
A foldable piano offers a more adaptable setup. It can be opened for practice and stored more easily when the session ends. This allows learners to create a dedicated practice routine without permanently sacrificing valuable floor space.
This type of design is especially useful for students, working professionals, families, and apartment residents who want to take piano learning seriously.
The V70 features an 88-key full-size keyboard. This gives learners access to the complete range commonly used in piano music and helps them become familiar with standard key spacing.
A smaller keyboard may be enough for basic exercises, but it can become restrictive as a player improves. More advanced pieces often require wider movement across the keyboard, both hands working together, and access to lower and higher notes.
Choosing a full-sized instrument from the beginning can reduce the need for another upgrade later. For buyers looking for a foldable piano for serious practice, the 88-key layout supports both early lessons and continued development.
Key response plays an important role in effective practice. The V70 uses fully weighted hammer-action keys, giving players more resistance beneath their fingers than a lightweight keyboard.
This helps learners practise finger control, timing, dynamics, chord control, and expressive playing. Weighted keys can also make scales, technical exercises, and longer pieces feel more purposeful.
The V70 delivers real piano feel in a foldable design, making it suitable for learners who want practical storage without giving up a substantial playing experience.
Sound quality can influence how enjoyable and productive a practice session feels. The V70 includes a 50W four-speaker sound system, allowing players to hear their performance clearly without depending on separate external speakers.
The built-in system supports daily practice by keeping the setup simple. Learners can sit down and begin playing without connecting additional audio equipment.
Clear sound can also help players notice differences in timing, note balance, phrasing, and dynamics. This makes the speaker system useful for both technical exercises and complete pieces.
The main practical advantage of the V70 is its foldable structure. Once practice is over, the piano can be folded for easier storage, helping users reclaim space in a room used for other activities.
TERENCE is positioned as a modern piano brand for real homes and smaller spaces. Within its foldable range, the V70 is presented as a premium model built around fit, feel, sound, and daily usability.
The folding design is not only about saving space between sessions. It helps make regular practice more realistic for people who do not have a separate music room.
The TERENCE V70 foldable digital piano can become part of a daily routine without permanently dominating the living space. This balance may also reduce buyer regret by addressing both long-term learning needs and practical storage concerns.
The V70 is designed for serious beginners, returning players, and learners who want an instrument that can remain useful as their skills progress. Its main advantages are concentrated in the areas that matter most for consistent daily practice:
These features position the V70 as the premium model in TERENCE’s foldable lineup rather than a temporary first keyboard. They address both sides of the buying decision: the feel and sound needed for longer-term practice, and the storage flexibility required by modern homes.
The available 30-day return period may help buyers assess whether the piano suits their room and routine, while the one-year warranty provides additional reassurance.
Serious piano practice is possible in a small home when the instrument is designed around both learning and everyday living. For learners who want substantial key feel in a space-conscious design, the V70 offers a practical premium balance of full-size range, weighted touch, fuller home sound, modern connectivity, and easier storage.
When I was a kid, I always thought that websites were and could only be created by super-skilled professionals (and those with money to hire them). Juggling designers, developers, hosting providers, dragging boxes around the screen, and countless revisions. While I wasn’t wrong at that time, a lot of innovation has happened since then. The process looks very different now. A study suggests that around 35% of websites online are either AI-assisted or AI-generated. That’s because AI tools for building websites do much of the heavy lifting at speed. Website building is much more accessible today.
However, most AI tools don’t all work the same way. As such, there’s a particular kind of paralysis that hits the moment you decide to build a website. The “which builder won’t waste my time and money” paralysis. So this guide lists the top options to get you from nothing to something live online.
Wix has added powerful AI capabilities to its arsenal. It’s now a full-fledged hybrid website builder. Coming in hot is its smart AI Website Builder. Users describe their business goals and style in plain language, and it generates a fully custom website. For those who still want manual control, Wix still offers tons of templates and an intuitive drag-and-drop editor. But that’s not where the offerings end. Users can either work with an AI agent or the dedicated editor to further customize the output, from colors to animations.
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Online store owners on Amazon or eBay who want to expand with a standalone website can do it with Wix. They can prompt the AI agent to get a structured multi-page draft with product galleries built in.
Built for solopreneurs, Jimdo focuses on making website creation approachable. No coding or design know-how. Like Wix, users need to provide the AI with website specifics. And that’s all it needs to generate one functional website. It also pulls in existing business details from sources like Google and Facebook. So users are not starting from a blank form. Jimdo even provides dedicated design features and allows custom domains. Not to mention the included tools for running the website. Get customers. Get paid.
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Jimdo can help a solo hairdresser or local repair shop become visible to online customers and clients. With its AI website builder, they can get hours, location, and a booking link live within a day. Zero design decisions required.
Design.com is best understood as an AI branding platform with a built-in website builder. It can generate a fully designed website tailored to the business name, industry, and style preferences. Keyword entry is also helpful for finding unique website templates that align with the business vision. From there, this platform allows the customization of colors, fonts, and layouts. It can also produce logos, business cards, social media assets, and marketing materials. Ideal for entrepreneurs launching a new brand from scratch.
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Freelance photographers can generate a logo, then immediately spin that into a portfolio website with Design.com. Pair it with business cards and social media graphics without using separate design software.
Made for people who need something functional. Lovable offers AI tools for building websites. At its core, it generates complete websites directly from natural-language prompts. AEO and SEO optimized. The process doesn’t end with the first draft. Users can continue refining the output. Either through follow-up prompts or visual editing. That covers colors, layouts, and texts. With Lovable, static pages aren’t the only option. It can also integrate more features. Like forms, payments, and user accounts.
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Lovable enables startup founders to build a working website that developers can continue to expand into a full web application. All they need to do is describe a SaaS landing page with pricing, testimonials, and other essential components.
Olitt gets rid of the manual layout, drag-and-configure workflow. With its AI features, users can create a website by entering their business name and clicking “Generate.” But what makes it stand out is that it builds with context. Carefully tailored websites with components that align with the business type and location. Inline editing? Supported. Make updates on the fly by tweaking headings, images, layouts, and sections. On top of that, Olitt is packed with SEO tools, blogging, and e-commerce capabilities.
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Attracting nearby customers is made easier with Olitt. Home cleaning companies can use it to launch a website with service pages, online booking, and pricing information.
Shortening the time between having an idea and publishing a professional online presence. That’s what AI tools for building websites offer. Not just the quick creation of attractive pages.
Wix is an all-around choice for businesses that find comfort in an established ecosystem. Jimdo makes website creation accessible for beginners. Design.com combines branding with website generation. Lovable performs great at making prompt-driven websites. Olitt helps entrepreneurs launch customer-ready websites with little effort.
At the end of the day, the correct pick depends on how much control you want and what you’re actually building. So choose the one that matches your experience level, business goals, and plans. This way, you spend far less time building websites and far more time growing them.
Autumn is traditionally the most exciting season in the international art calendar, as museums and galleries unveil their most ambitious exhibitions alongside the return of collectors, curators and artists from the summer break. The 2026 autumn art season is no exception. Galleries and museums in London, Paris, Amsterdam, Hong Kong, New York and Mexico are presenting a great selection including landmark retrospectives of pioneering artists and major institutional debuts, while an entirely new cultural destination will be revealed in Santander.
Whether you’re planning an art-focused city break or following the international exhibition circuit, her are some of the most exciting exhibitions to visit this autumn.
London’s autumn programme reflects the city’s enduring strength in both contemporary art and photography. The Hayward Gallery presents the long-awaited return of Nan Goldin with her first UK institutional exhibition in more than twenty years. Opening in November as part of the Southbank Centre’s 75th anniversary celebrations, the exhibition combines photographs, moving image works and a major new film, reaffirming Goldin’s unparalleled ability to transform deeply personal stories of love, grief, addiction and queer identity into universally resonant works of art.
At the Serpentine, Indian artist and filmmaker Amar Kanwar transforms Serpentine North into an immersive visual and sonic environment centred on the premiere of The Charcoal Man, a new seven-screen installation. Kanwar’s poetic explorations of memory, justice and ecology continue his distinctive practice of blending documentary, cinema and installation.
Meanwhile, Victoria Miro presents new paintings by Khalif Tahir Thompson, whose richly textured domestic scenes explore Black identity, intimacy and everyday life with extraordinary colour and psychological depth.
Photography takes another intriguing turn at Hauser & Wirth London, where Cindy Sherman debuts works from her new Fabric Matrons series. Continuing her lifelong investigation into constructed identity, Sherman examines ageing, visibility and femininity through elaborately staged portraits that blur the boundaries between fashion photography, portraiture and performance.
13 October – 23 December 2026
Nan Goldin at Hayward Gallery
24 November 2026 – 7 March 2027
Amar Kanwar at Serpentine North
23 September 2026 – 31 January 2027
The Metropolitan Museum of Art’s autumn programme places performance and visual art into dialogue through its ambitious Met Live Arts season, but one exhibition stands out above all: Krasner and Pollock: Past Continuous.
Rather than retelling the familiar mythology surrounding Jackson Pollock, the exhibition re-examines one of modern art’s most influential creative partnerships by placing Lee Krasner firmly at its centre. Running from October through January, the exhibition traces how both artists continually influenced one another while developing radically individual artistic languages, offering a more nuanced understanding of Abstract Expressionism.
Krasner and Pollock: Past Continuous at The Metropolitan Museum of Art, New York
October 4, 2026 to January 31, 2027
Paris delivers two of the season’s highlights. At Hauser & Wirth Paris, Calder: François Premier revisits a pivotal period in Alexander Calder’s career following his return to France during the early 1950s. Monumental mobiles, delicate gouaches and rarely exhibited sculptures reveal the remarkable inventiveness of an artist whose work continues to redefine the relationship between sculpture, movement and space.
Meanwhile, the Pinault Collection presents a major new photography exhibition at the Bourse de Commerce. ‘Remember Me’ features masterpieces of photography from the Pinault Collection from a stellar cast of photographers including Man Ray, Barbara Kruger, Annie Leibovitz and Claude Cahun. The exhibition opens during the bicentenary year of photography, and reinforces the institution’s growing reputation for ambitious presentations exploring the evolving role of photography in contemporary artistic practice.
Curated by Matthieu Humery, Advisor for Photography of the Pinault Collection, with the collaboration of Lola Regard, Projects Officer, “Remember Me” takes its name from an original work by Barbara Kruger that will be shown in the Rotunda of the museum. The exhibition will feature 700 works by more than 70 artists.
Alexander Calder at Hauser & Wirth Paris
19 October – 19 December 2026
‘Remember Me’, Masterpieces of Photography from the Pinault Collection is at the Bourse de Commerce, Paris from 7 October to 31 December 2026.
The opening of GRIMM’s new Amsterdam gallery is marked by a solo exhibition from Dutch painter Robert Zandvliet.
His Paradaidha series transforms the idea of the garden into expansive, almost abstract landscapes composed of layered greens and shifting fields of colour. Drawing inspiration from Claude Monet’s Nymphéas, Zandvliet moves effortlessly between observation and abstraction, creating meditative paintings that reward prolonged looking while questioning how nature is represented through paint.
Robert Zandvliet at GRIMM Amsterdam
September 5 – October 3, 2026
Hauser & Wirth Hong Kong presents one of the year’s most significant surveys of Lucio Fontana, focusing on the revolutionary Buchi (Holes) and Tagli (Cuts) works that transformed post-war art.
Curated by Luca Massimo Barbero in collaboration with the Fondazione Lucio Fontana, Spatialism: Pioneering the Contemporary explores how Fontana rejected the traditional picture plane in favour of works that physically opened the canvas to light, movement and infinite space. More than half a century after their creation, these iconic slashed canvases remain astonishingly contemporary.
Lucio Fontana Spatialism. Pioneering the Contemporary at Hauser & Wirth Hong Kong
17 September – 19 December 2026
Museo Jumex presents the first major survey of Richard Prince in Latin America, offering audiences an opportunity to reconsider one of contemporary art’s most provocative figures.
Alongside Prince’s retrospective, the museum continues its commitment to supporting new artistic practices through an immersive installation by Álvaro Urbano created specifically for the museum, while Raúl Silva receives his first solo exhibition in Mexico, highlighting the institution’s balance between internationally established artists and emerging voices.
MUSEO JUMEX autumn/ winter exhibitions
RICHARD PRINCE: TELL ME EVERYTHING
26 September 2026 to 7 February 2027
ÁLVARO URBANO: HELEN
16 October 2026 to 7 February, 2027
RAÚL SILVA: GATEWAY
16 October 2026 to 7 February, 2027
Perhaps the season’s most significant cultural opening is Faro Santander, a major new arts centre housed within the transformed former Banco Santander headquarters in northern Spain.
Its inaugural exhibitions are remarkably ambitious. Masterpieces from the Banco Santander Collection spans five centuries, bringing together works by Titian, Rubens, Velázquez, Goya, Picasso, Miró and Antoni Tàpies, while Modern Mexico in the Gelman Santander Collection features masterpieces by Frida Kahlo, Diego Rivera, Rufino Tamayo and Leonora Carrington.
The opening programme is completed by The Symptomatic Surreal, an exhibition exploring Leonora Carrington’s formative period in Santander during the Second World War. Together, these exhibitions establish Faro Santander not simply as another museum but as one of Europe’s most important new cultural destinations, combining historical collections with an ambitious vision for the future of contemporary art.
Faro Santander dates:
Masterpieces from the Banco Santander Collection
8 September 2026 – February 2027
Modern Mexico in the Gelman Santander Collection
8 September 2026 – 10 January 2027
The Symptomatic Surreal: Leonora Carrington
8 September 2026 – 10 January 2027
Across continents, the strongest exhibitions of autumn 2026 share a common thread: they place historical masters into conversation with contemporary voices while challenging established narratives. From Nan Goldin’s intimate chronicles of lived experience and Amar Kanwar’s poetic political installations to Lee Krasner’s long-overdue reassessment and Lucio Fontana’s revolutionary spatial experiments, this season demonstrates that the most compelling exhibitions are those that encourage audiences to look again—at art history, at society and at themselves.
For anyone planning an international gallery itinerary or in search of a dose of culture during their travels, autumn 2026 has a wide range of cultural highlights for lovers or art and photography.
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 Tuesday, August 4, 2026.
Susanna Hoffs bills her new album, The Frame, as the sound of gathering around a table with her closest friends, sharing stories about her life. It features contributions from Rufus Wainwright, Edie Brickell, Dan Wilson, Greg Leisz, Ryan Lerman, Desure, Jesse Harris, Ny Oh, Grant Milliken, Larry Golding, and Spencer Zahn. Hoffs’ framing rings true on the lead single ‘Casablanca’, which was inspired by a rewatch of the titular film as well as walking through the French Quarter with Bob Weir in 1988.
Helen – the shoegaze trio made up of Grouper’s Liz Harris, bassist Scott Simmons, and drummer Jed Bindeman – are returning with their first album in over a decade. Along with the announcement, they’ve shared two tracks from Linda’s Head, the title track and ‘Dead Shark II’, which latch onto shoegaze and twee-adjacent signifiers in exquisitely dreamy fashion.
Hana Stretton’s intimately transportive new album, tiarn, is out at the end of the week, and today she’s shared one final preview. ‘From’, which opens as a hushed piano ballad, cuts to the record’s mournful core. “I made ‘FROM’ as a dark storm rolled over,” the artist explained. “I opened all the windows and recorded it with my dog Roo asleep next to me. I used a hairbrush for the guitar, played some synth and a tiny harp. I realise now that it’s about how to weather our own storms without hardening. To keep reaching for warmth and kindness in our stubbornly sharp world.”
Have you ever heard “a chill song about self-torture”? That’s how Philadelphia based art-folk duo describe ‘Punish My Mind’, the latest single from their upcoming record Autosmile, which was first previewed by the title track, one of the best songs of June. “It has a fat wind arrangement and a of vocal harmonies. We hope you like it,” they added.
June McDoom has announced her debut album, Follow the Light, with the enchanting lead single ‘Without You’. “I wrote ‘Without You’ about that feeling of realizing how meaningless life can feel without the person/people you love, and how you can feel like nothing without them around,” the singer-songwriter explained. “I wanted the arrangement to reflect the emotional journey of that realization. The ending celebrates the awareness and commitment to never take that person for granted, because it’s never too late to change how you’ve been.”
Ahead of the release of her fourth album I Am Both this Friday, Margaret Glaspy has served up one more preview, the gnawingly self-aware ‘Reminder’. “That song’s a message to myself for when it feels like I’m doing nothing of value, reminding me that it’s important to keep showing up in lots of little ways instead of giving up altogether,” the singer-songwriter reflected. “It’s an example of something I never would’ve written if I were still praying to the gods who told me everything needs to be neat and tidy and symmetrical.”
If you’ve ever been to New York City, even briefly, you probably have strong feelings toward it. And part of those feelings may be captured in Told Slant’s sharply mournful new single, ‘Draw Blood’, from their forthcoming album What’s Up. “I think there is a frustration on this record, a set of grievances that feels so overwhelming to me, that the only way I felt I could express it was in religious appeals,” Felix Walworth remarked. “When you are defeated entirely, what do you have other than prayer?”
Eau Claire experimentalists gash have shared ‘risking heaven’, the second single from their forthcoming album at least you know what you’re laughing at. It follows last month’s ‘good and bad’.
Graham Hunt has previewed his new album, American Pyramid, with a jaunty track called ‘Getting Older’. It follows earlier cuts ‘Riverboat Blues’ and ‘Waiting For You To Come Home’.
German-born, Brooklyn-based saxophonist, composer, and singer Charlotte Greve has unveiled ‘Own Lap’, a sprawling cut from her forthcoming LP WATERBODIES that marks her first work to be adapted into an orchestral context. It’s dedicated to Greve’s late grandmother and two close friends who had recently suffered through hardship, “strong people,” in her words, “who had the ability and strength to keep their head up and keep going.”
Patient and affecting, ‘Unlearning of Love’ is the final offering from Rowena Wise’s sophomore album, Bad Things Feel Good*, ahead of its release on Friday. “Non-monogamy was part of the context in which I wrote this song,” she explained. “I was experiencing the confusion of loving multiple people at once, but more than that, I was wondering what a new connection could become when there were fewer assumptions or expectations around it. There was a real tension in not knowing where friendship ended and romance began, or whether it needed to become either. That openness could feel scary and obscure, but it was also exciting, meaningful and incredibly expansive. Getting to know people in that more open way taught me as much about myself as it did about others – how differently people love, communicate, attach and move through the world.”
Black Bananas have dropped ‘Eddie’s Album’, the slinky second preview of their upcoming album Bad Bunch. Out September 4 via Fire Records, it marks the group’s first effort since 2014’s Electric Brick Wall.
HUG is the trio of Devendra Banhart, Gyan Riley, and Noah Georgeson, who will release their self-titled collaborative album on September 11 via Luaka Bop. Today, they’ve shared the quietly wondrous ‘Catatumbo’, which is built on a loop that Georgeson and Banhart first created twenty years ago, when they were living together in Venice Beach.
New York-based quintet Diary have shared a new single, ‘Drive It’, taken from their debut full-length, Spiral Bound. The hypnotic track comes paired with a video directed by Nadia Bedj and choreographed by Lilly Fridlyand.
Helen – the trio comprising Grouper’s Liz Harris, bassist Scott Simmons, and drummer Jed Bindeman – have announced their first album in over a decade. The follow-up to 2015’s The Original Faces is called Linda’s Head, and it arrives October 2 via Kranky. Today’s announcement comes with the release of two songs, the title track and ‘Dead Shark II’, which enchantingly merge shoegaze and twee sensibilities. Take a listen below.
Grouper’s most recent LP, Shade, arrived in 2021.
Linda’s Head Cover Artwork:
Linda’s Head Tracklist:
1. Faraway
2. Starline
3. endless Sky
4. Linda’s Head
5. darkblue
6. Dead shark
7. Dead shark II
8. black and quiet love
9. Stay with me
10. Canyon
June McDoom has announced her debut album, Follow the Light, which will arrive on October 16 via Jagjaguwar. The shimmery, spellbinding lead single, ‘Without You’, is out today alongside a music video directed by Bing Cao. Check it out and find the album’s cover art and tracklist below.
“I wrote ‘Without You’ about that feeling of realizing how meaningless life can feel without the person/people you love, and how you can feel like nothing without them around,” McDoom explained. “I wanted the arrangement to reflect the emotional journey of that realization. The ending celebrates the awareness and commitment to never take that person for granted, because it’s never too late to change how you’ve been.”
McDoom crafted the songs on her debut LP with her longtime partner, Evan Wright. She cites Dionne Warwick, Minnie Riperton, Pentangle, and Cocteau Twins’ Victorialand as some of its reference points.
Follow the Light Cover Artwork:
Follow the Light Tracklist:
1. Human Angel
2. Without You
3. Outside the Window
4. Forever
5. Get Out of My Life
6. Grandpa
7. Dream Dub
8. Memory
9. Mountain
10. Searching to Find
11. Weaver
12. Follow the Light
A saxophone and trumpet rise like possessed mosquitos as a jittery beat bombs it down an imaginary highway. Into this mariachi-disco a man starts intoning lyrics – half preacher, half ribald speed date. “Nail up a stranger, I will be your saviour,” he sings. The song is ‘Crucify’, which appears near the end of Opus Kink’s arresting debut, The Sweet Goodbye. “It’s about being a performer,” says frontman Angus Rogers, “and the ridiculousness and silliness of wanting to put yourself up on stage.” The biblical imagery of the figure who carries the sins of his followers (and the dead rock stars who have been made in his image) is something Rogers is both experiencing and commenting on, as the singer and guitarist of one of the most hotly tipped bands in recent memory. With his shaven head, long neck and silver earrings, Rogers himself looks shamanic, and speaking to him it’s clear that he is bursting with deep pockets of intellect and romanticism. He is a calligraphic drawing of an artistic force squeezed into the paper bag of a rock frontman, like a clean Pete Doherty or a less dandyish Brett Anderson, switching between language that is florid and then cutting immediately to the chase. There’s also something perfect about the fact that this interview is being conducted at 11am on a Monday morning in an anonymous hotel lobby: an extremely Opus Kink-esque situation in its mix of the elevated and the prosaic.
On The Sweet Goodbye, the sextet paradoxically seize at the throat of the modern world while subtly decrying modernity itself. It summons up the horror, glamour, and beauty of Britain like a saucy seaside postcard written in blood. On ‘Come Over, Do Me Wrong’ he’s a glazed over fuckboi (“Dead face, cold glove, come over do me wrong”), on ‘I’m a Pretty Showboy’ he’s Narcissus trapped on a reality show (“Every breath is wasted/ All is vanity/ But I’m a pretty showboy/ I don’t want to be free”), while the title track suggests the last rites of a power-drunk dictator. There’s a streak of wild theatricality about Rogers too – a wick of unpredictability which can be lit to capture the wild man spirit of Oliver Reed. “The characters are a heavy mix of me and facets of my personality,” he says, “but it’s blown up and enlarged. It changes every night too with every performance.”
Musically, they are harder to pin down: genres seem insufficient at describing songs, like the aforementioned title track that goes from an inebriated, Jonathan Fire*Eater-esque grind to a nursery rhyme cakewalk featuring a devilish choir of zombies. Is it “baroque pop,” is it “jazz-metal”? So much so that the band have invented their own genres: “witch disco” and “chainsaw pop,” which actually make complete sense once you hear the album. At the same time it speaks to a defiance at being boxed in. That extends to responses to my questions like, “How did you meet?”
“We met loom-caning,” Rogers says, with deadpan sincerity.
Despite The Sweet Goodbye being their debut, the Brighton-based band began almost a decade ago in 2017 and started releasing material in 2020. Rogers describes the group, which also features brothers Sam (bass) and Finn Abbo (drums), Jazz Pope (keyboards), Jed Morgans (saxophone), and Jack Courtney (Trumpet), as brotherly. “It’s like six people’s lives ebbing and flowing in with what we’re doing. We have our disagreements but we appear to not have it in us to let it boil over into physical action. If you’ve been together for eight, nine years and it’s never fallen apart, it’s unlikely to. “What’s it like trying to balance six creative voices together? “You have to overcome quite a lot of frustrations and kill a lot of darlings,” he says. “But I would rather do that and have an end result of something I couldn’t have envisaged.”
The band are currently on a whistle-stop tour of record shops to mark The Sweet Goodbye‘s release, but that hasn’t stopped their creative juices flowing. “We’ve got 20 new songs,” says Rogers. “We’ve stripped things back, we’re using strange drum machines, the sound’s become a lot more skeletal. I don’t have the guitar with me. Even at this stage, we’re excited to write the next album.” Rogers says his songwriting is a kind of therapy. “You learn uncomfortable things about yourself,” he says. “There’s a real capacity for growth and learning in that. The most difficult part is unlearning all the things which made you want to hide in the first place.”
Opus Kink’s The Sweet Goodbye is out now via So Recordings.
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