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Lingering in Transit: Xiang Zhang on Space, Silence, and Storytelling

Abbie Wilson
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Lingering in Transit: Xiang Zhang on Space, Silence, and Storytelling

Distant Depictions by Xiang Zhang presents a quiet study of distance: emotional, spatial, and cultural. Exhibited as part of the “Small Works” group show at Fox Yard Studio, the series consists of black and white photographs that linger in transitional spaces. With a background in film from the Beijing Film Academy and the London Film School, Zhang brings a cinematic sensibility to still images that resist narrative resolution, capturing scenes that feel suspended in time.

One photograph shows a solitary figure perched on a railing in front of a tiled wall, a moment that feels both incidental and deliberate. The space is flat and institutional, the subject passive, waiting or perhaps simply pausing. Another image captures a person walking down a narrow alley, the camera angled sharply as if the viewer is observing from a skewed perspective. The urban setting feels compressed, the human presence small, on the edge of being forgotten.

Though the work is quiet, it suggests deeper questions about visibility, place, and the structures we move through. Zhang’s use of framing and scale emphasizes the dominance of architecture over the individual. These visual choices imply a broader commentary on marginality and disconnection, particularly within global cities where movement often equates to erasure. The figures are not centered but instead exist within and against the spaces they occupy.

Zhang’s photographs do not seek to explain or resolve. Instead, they offer moments of ambiguity, encouraging the viewer to sit with what is withheld. The restraint is deliberate, and the atmosphere carefully constructed. With Distant Depictions, Zhang positions themselves as an artist attentive to the subtleties of dislocation, working within a visual language shaped as much by absence as by presence.

Your work spans experimental animation, narrative films, and fine art photography. How did your time at Beijing Film Academy and London Film School shape the evolution of your artistic vision?

From a young age, I have been deeply passionate about animation and film. This enthusiasm drove me to experiment early on with expressing my ideas through drawing. During high school, I received systematic and rigorous training in fine arts, which planted the idea of turning my passion into a profession. With this goal in mind, I applied to the Animation School of the Beijing Film Academy and was fortunate to be accepted.

At this multidisciplinary arts institution, the learning environment revolved around film while encompassing various artistic fields such as photography, painting, music, and even performance. Immersed in such an atmosphere, my fascination with visual storytelling grew significantly. However, at the time, my interest was largely driven by an appreciation for specific styles and a tendency to imitate them. It wasn’t until I joined the London Film School and underwent a more structured and professional filmmaking education that I began to realize an essential truth: drawing, photography, music, and writing are all structured artistic mediums. The key lies in how these mediums are used to tell stories and convey meaning.

Over the years, I have developed a creative process that has become second nature. Whenever I capture a compelling moment in life, I first document it with a camera. Then, I attempt to extend and explore it through drawing or writing, gradually distilling a core theme. Eventually, I bring it to life through moving images. The interplay of different mediums allows me to refine and reinforce my intended message while continuously providing new inspiration and creative momentum.

Transitioning from a character designer at West Mountain Game Company to a fine art photographer and videographer seems like a bold shift. What inspired this transition and how have those design skills informed your visual storytelling?

I initially chose to enter the gaming industry primarily for practical reasons. Compared to the animation or film industries, game companies generally offer higher salaries. With a solid foundation in drawing, I was able to find a place in this field, making it a viable means of livelihood at the time.

However, life cannot be sustained by practicality alone. The relentless demands of high-intensity, commercialized artwork left me mentally and physically exhausted. Over time, I came to realize that my true passion did not lie in this industry. This realization led me to pursue further studies, determined to follow my artistic aspirations.

That said, my experience in the gaming industry has greatly enriched my approach to visual storytelling. Character design in games emphasizes striking imagery, intricate details, and immersive atmospheres—elements that later became invaluable in my photography and filmmaking. It sharpened my sense of composition, deepened my understanding of light and shadow, and refined my ability to convey emotions through characters. These skills continue to add depth and dimension to my visual narratives.

How have the cultural environments of Beijing and London influenced your aesthetic choices and the themes you choose to explore?

Beijing is a city steeped in history and culture, yet over the past three decades, it has undergone a dramatic transformation through modernization. Skyscrapers have risen across the skyline, and beyond the Second Ring Road, traces of the city’s historical depth have become increasingly difficult to discern. Many view these towering structures as symbols of societal progress, but what often goes unnoticed is that, despite these external changes, people’s inner worlds have not experienced the same level of growth. Social divisions and class disparities remain as pronounced as ever.

This reality prompted deep reflection and became the foundation of my creative exploration. I began focusing on the absurdities that emerge amid rapid modernization, intertwining them with the everyday lives of ordinary people. Through this approach, I sought to create a sense of magical realism—one that encourages audiences to reflect on the underlying social issues. This theme not only shaped my work in Beijing but also extended to my explorations in other parts of China.

Moving to London further expanded my perspective. The city’s multicultural environment exposed me to new social issues, such as immigration and racial dynamics, while also introducing me to a diverse range of artists with distinct styles. Their influence pushed me beyond the relatively traditional aesthetic framework I had been accustomed to, encouraging me to experiment with more varied artistic expressions. This cultural shift not only broadened my artistic sensibilities but also made me more open and versatile in my creative pursuits, allowing me to engage with a wider range of artistic disciplines.

What specific challenges have you encountered in establishing yourself within the fine art community and how have you overcome them?

In China, one of the greatest challenges for an artist is the censorship system, which prevents me from creating with complete freedom. Even though my work does not directly engage with politics and instead focuses on issues of class and the survival of ordinary workers, it can still approach the boundaries of censorship, potentially impacting my career. In such an environment, creative freedom becomes especially precious, and these invisible restrictions often lead to artistic dilemmas and anxiety.

Even after moving to the UK, this struggle has not entirely disappeared. No matter where I am, my work remains deeply rooted in my cultural background, and I hope for it to be seen by ordinary people in China. However, this also means that I may still face potential restrictions in some form. In response to this challenge, I have chosen to connect with like-minded artists, supporting each other in exploring broader creative avenues. At the same time, I actively seek out new channels for screenings and exhibitions, striving to share my work on more overseas Chinese-language platforms. This allows my films and artistic expressions to reach a wider audience, ensuring that they remain visible despite the constraints.

What new directions or projects are you most excited to explore, and how do they align with your overall artistic journey?

I am currently fascinated by the application of AI in artistic creation and hope to integrate it into my creative process. AI has enabled me to quickly grasp knowledge from unfamiliar fields and merge it with my artistic practice, significantly enhancing efficiency. For instance, in filmmaking, music plays a crucial role in shaping atmosphere and emotion. In the past, this required the expertise of a professional composer, but now, I can simply input my ideas into an AI system and generate a foundational version almost instantly. While the initial result may not be perfect, through continuous refinement and guidance, I can eventually achieve the desired outcome.

Imagine the excitement of a future where an individual could single-handedly create an entire film! Of course, I understand the concerns that AI might dilute the uniqueness of artistic creation, but I don’t share this fear. While form and content may be replicable, the essence of artistic expression—the depth of thought and the creator’s insight—remains irreplaceable. True creativity stems from an artist’s understanding of the world and years of accumulated experience; AI is merely a tool that accelerates this process, but it cannot replace the soul of creation. I look forward to further exploring this intersection of AI and art, discovering new possibilities for their integration in the future.

Matt Berninger Enlists Hand Habits for New Single ‘Breaking Into Acting’

Konstantinos Pappis
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Matt Berninger Enlists Hand Habits for New Single ‘Breaking Into Acting’

Matt Berninger has teamed up with Meg Duffy, aka Hand Habits, for his new single ‘Breaking Into Acting’. Lifted from the National frontman’s forthcoming album Get Sunk, the acoustic track gently confronts performativity as the pair sing, “Your mouth is always full of blood packets/ You’re breaking into acting/ I completely understand.” Berninger had this to say about it: “Sometimes you have to fake forgiveness before you can actually forgive.” Check out the song’s Hopper Mills-directed video below.

Get Sunk is set to arrive on May 30. It was led by ‘Bonnet of Pins’, which made our list of the best songs of March.

Album Review: Tunde Adebimpe, ‘Thee Black Boltz’

Konstantinos Pappis
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Album Review: Tunde Adebimpe, ‘Thee Black Boltz’

Going by ‘Magnetic’, the lead single from Tunde Adebimpe’s debut solo album, the speed and chaos of the world isn’t enough to drag the TV on the Radio singer down; on the contrary, he’s supercharged by it. While it made for a thundering introduction to Adebimpe’s solo career, that’s not exactly how Thee Black Boltz came to fruition. The album’s release is now helpfully timed to TV on the Radio’s reunion campaign, but its origins were, in fact, tied to what the band’s “mini-implosion” in 2019. Around that time, Adebimpe was toying with drum machines and a few synths, and he preserves some of those rudimentary, demo-like qualities on the new record, which he fleshed out with producer and multi-instrumentalist Wilder Zoby. The occasionally sparse nature of the album is complemented by taut, thematically cohesive, and often cinematic songwriting from Adebimpe, who showcases both the tender and manic sides of his vocal style. The electropunk of ‘Magnetic’ gives way to a varied electropop palette, a bunch of midtempo tunes and even an acoustic ode to Adebimpe’s late sister. It’s not the blaze of light that kicks the record into gear, but these flickering sparks keep it shining on, up against the void.  

1. Thee Black Boltz

The opening title track, a short poem slightly muffled by tape hiss, introduces the idea that sparks of inspiration can – and most often do – strike in the midst of darkness; even when that darkness seems like the very thing that should obscure them. “Say we start in the stars/ Descend to the mountain/ Walk down and through the hillside towns/ Settle our love and hate affairs,” he intones. “Walk down through the edge of the wood to the edge of the brook/ Sit and lament some happyysad run.” Change, he concludes rather vaguely, is “all looking at the stars.” Then he hears a tune and launches us right into it. 

2. Magnetic

The beginning of Thee Black Boltz isn’t so much “show, don’t tell” as “tell a little, show a lot.” To describe ‘Magnetic’ as aptly titled would be somewhat of an understatement; the album’s lead single is more hectic than purely electric, with Adebimpe’s blazing performance – though the synths are also, to borrow the singer’s verbiage in the actual chorus, “dope” – doing the heavy lifting. Even when running on nervous energy, he can’t help but get a little cerebral, contextualizing it with the line, “I was thinking about the human race in the age of tenderness and rage.” He meets the apocalyptic moment not just with stock resilience, but a kind of invincibility: “Out of the skillet/ Doing loops in the fire/ What they gonna do/ With a lightning rider?” What else can you do but dance along?

3. Ate the Moon

The album veers into fantastical, infectiously campy territory with ‘Ate the Moon’, which puts Adebimpe’s skills as a performer front and center. Even as he warns of chaos, there’s a cheekiness to the track that’s foregrounded by Wilder Zoby’s choppy synths and culminates in a punchline of an outro. Internally, Adebimpe careens between “sad extremes,” which speaks more broadly to the tensions of the record.

4. Pinstack

On the surface, ‘Pinstack’ is a more straightforward slice of glam-rock swagger, but its unexpected shifts and, again, Adebimpe’s voice keep it from feeling trite. He allows himself to get a little looser: “Cause me?” he sings, pointing in the mirror with self-effacing silliness, “I’m tryna get unstuck.” Before distorted guitars drive the song home, his layered vocals are more than capable of carrying the momentum. 

5. Drop 

Beatboxing isn’t as much of an odd fit for the melancholy introspection of ‘Drop’ as you’d think; it’s not showy but kind of lonely, as if dusting up the bones of the song. It returns to the album’s soulful thesis, manifesting it: “My heart beats a spark/ Of revival/ Jumps so high/ And right into the sky.” But it needs support, and in the second half, Adebimpe calls out for someone to help cast an “extraordinary spell.” Maybe we’ll feel it when we can sing it together, he seems to say. 

6. ILY

There’s rarely as much power in simplicity as there is in three words, and on ‘ILY’, Adebimpe sings them over and over, even trying different vocalizations, as if in hopes of reaching a higher plane of existence. ‘ILY’ is an elegy for his younger sister Jumoke, whom he describes as “a beacon in the dark” – far more than just a spark. Mason Sacks’ plaintive acoustic guitar anchors Adebimpe’s cosmic yearning, making it, too, sound fairly simple: “Yeah, we could glow bright/ As the sky when the Sun/ Hits the sea.”

7. The Most

‘The Most’ isn’t just Thee Black Boltz’s one blatant misstep, but feels strangely misplaced coming out of ‘ILY’, not to mention tonally bemusing. While the album generally does a good job of balancing stuttering electropop with Adebimpe’s theatrical ambitions, on ‘The Most’ those elements are starkly mismatched – though at points the lyrics are so clunky I’m not sure a different arrangement would be flattering. “If there’s a lesson to be learned/ About the nature of desire/ Sometime the loving lingers on/ Even when the lover is a liar.” Even if you’ve learned the same lesson, I doubt it’s felt like this; whether or not it’s trying to undercut its sincerity, the feeling’s not quite coming through.

8. God Knows

Feeding off presumably the same experience of betrayal as ‘The Most’, ‘God Knows’ is much more effective at evoking its central conflict. At once biting, conflicted, and mournful, the midtempo cut strikes a more delicate balance, with touches of pedal steel evoking real grief over the chug of guitars and threatening piano notes. Lyrically, it’s caught between vindictiveness and vulnerability; one moment sneering about “you pushing every button/ But you saved the self-destruct one/ Just for you,” then “moving through this loneliness/ With a smile/ And a tear on my face.” Still, the spell seems to be working.

9. Blue

On ‘Blue’, Adebimpe zooms back out – literally: “Took to the hills to gain a better point of view.” The view he relays, over a foreboding, industrial soundscape, is of a town where “wickedness spreads like a disease.” As drum machines swap out for dynamic percussion, impending doom not only intensifies but takes on a kind of organic quality: “At the edge of the mountain/ Earth’s talking retribution.”

10. Somebody New

Now here’s a song that owns all its synthetic gloss, channelling “heavenly vibration,” in all its nonsensical glory, through the album’s most exuberant synths and catchiest hook. There’s not a shred of irony here, just uncomplicated pop, even if it still leaves Adebimpe wondering: “Is there nothing in the world that we can do about this?” Usually, his singing is feeling out those questions; this time, though, it’s also a defiant response.

11. Streetlight Nuevo

A piece of sparkly, gliding electronica, ‘Streetlight Nuevo’ brings the album full circle by describing the tune heard at its very beginning: “It was wild as the moon.” For a while, the song keeps itself at a slight distance, until Miguel Atwood-Ferguson’s strings make it sound like an ascent, the light inching closer. “Just give me that sound/ I’m only tryna see someone,” Adebimpe pleads; perhaps referring to a love he’s hanging on to, a stranger in the audience, or, given the previous song, the new person he’d like to cast himself as. For the singer of an established, newly resurrected, and constantly shapeshifting outfit, carving out new paths is just part of the job. Thee Black Boltz digs under the skin just enough to feel like not just another new beginning, but a revelation.

Why E-Bikes Are the New Favorite at Music Festivals

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Why E-Bikes Are the New Favorite at Music Festivals

Music festivals are more than just concerts—they’re full weekend experiences packed with energy, movement, and non-stop schedules. Whether it’s a local event or a massive outdoor gathering, these festivals often stretch across large areas. That means plenty of walking, standing, and moving between multiple stages, food vendors, and campgrounds.

For many festival-goers, the physical demands can get overwhelming. Add in the summer heat, crowds, and long hours on foot, and it’s easy to see why people are looking for smarter ways to get around. This is where e-bikes are making a big impact.

Over the past few years, e-bikes have started showing up more often at festivals. People are using them to cut down on walking time, move between areas with ease, and enjoy more freedom during the event. They’re quiet, quick, and perfect for the open layouts most festivals use.

But e-bikes aren’t just about comfort. They’ve become a fun part of the festival experience—something that adds a sense of adventure and mobility. From parking lots to main stages, people are riding in with their gear packed, water bottles in holders, and smiles on their faces.

Easy Access to Nearby Spots

Music festivals don’t happen in city centers. Many take place in open fields, rural areas, or fairgrounds outside town. That makes everyday needs a little more complicated. Attendees often need to travel between the site and nearby gas stations, grocery stores, or restaurants. For those who camp at the venue, these quick trips can become a hassle.

That’s where brands like Heybike come in—offering models that combine range, comfort, and portability, which make them ideal for weekend events and outdoor adventures. Their designs make it easy to cover more ground without the noise and bulk of a gas-powered ride.

Compared to cars, e-bikes are easier to park, cheaper to maintain, and far more convenient for short rides. They’re also more flexible than scooters, which can struggle on dirt paths or uneven ground. And while golf carts might seem like an alternative, they often require special passes or aren’t allowed in all areas.

E-bikes help you go from the campgrounds to the store, or from your car to the gate, in a matter of minutes. They’re a smart solution for people who want freedom to move without dealing with crowded shuttles or long walks in the sun. Some models even include racks or baskets, making it simple to carry snacks, water, or extra gear along the way.

As more people discover how useful these bikes can be during long festival weekends, they’re becoming part of the standard checklist, right next to sunscreen, tickets, and camping gear.

Eco-Friendly Travel That Fits the Vibe

Music festivals have started putting more focus on sustainability. Many events now promote eco-friendly practices like recycling stations, reusable cups, and carpool incentives. For attendees who care about reducing their impact, e-bikes fit right in.

Electric bikes don’t produce harmful emissions. They run quietly and don’t rely on gas, which helps keep the air cleaner around crowded areas. When large numbers of people choose greener ways to travel, it lowers the amount of traffic and fuel burned during the event. Some festivals go further by offering perks—like preferred parking or charging stations—for those who ride in on bikes or other low-impact transportation.

Aside from the environmental benefits, e-bikes just feel right for the setting. Music festivals often attract people who value freedom, creativity, and conscious choices. Riding an e-bike becomes part of that lifestyle. It’s a way to get around without adding to the noise or pollution, and it helps support the festival’s message of community and connection.

Compact, Foldable, and Festival-Ready

One big reason people bring e-bikes to festivals is portability. Many riders travel in vans, RVs, or packed cars. Space matters. Traditional bikes can be bulky and hard to manage, especially if you’re already loaded with tents, food, and camping gear.

Lightweight or foldable e-bikes are built for this kind of trip. Some can be folded down and stored in a trunk or tucked inside a camper. That convenience matters when you’re packing up for a weekend away. Riders can unfold their bike, hop on, and be festival-ready in minutes.

There’s also less risk of damage when bikes are compact and easy to move. Some models let you remove the battery and charge it separately, which helps when outlets are limited. Features like built-in lights or easy controls also help riders stay safe in low-light conditions or on uneven ground.

People want gear that works well without taking over their whole setup. E-bikes meet that need. They make the trip smoother without creating extra stress.

Making the Most of the Experience

Festivals are packed with moments you don’t want to miss. An e-bike gives you the freedom to explore more, faster. Instead of spending twenty minutes walking between stages or back to the campsite, you can ride in just a few.

The extra mobility helps when you’re short on time, running late for a set, or just want to grab food and come back. It makes moving around less of a chore. At night, having a bike with lights helps you avoid long lines for shuttles or stumbling through crowded paths on foot.

Some people go in groups, and e-bikes turn into a social experience. You’ll often see groups riding in together or heading out for a scenic ride during downtime. It adds to the fun, without taking away from the music or the vibe.

E-bikes are more than just a way to get around—they’ve become part of the music festival lifestyle. They give riders freedom, flexibility, and comfort during long weekends outdoors. With more people looking for easier, greener ways to enjoy these events, e-bikes are quickly becoming a must-have for the festival crowd.

4 Albums Out Today to Listen to: Julien Baker and TORRES, Tunde Adebimpe, Beirut, and More

Konstantinos Pappis
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4 Albums Out Today to Listen to: Julien Baker and TORRES, Tunde Adebimpe, Beirut, and More

In this segment, we showcase the most notable albums out each week. Here are the albums out on April 18, 2025:

Julien Baker and TORRES, Send a Prayer My Way

Julien Baker and TORRES have released their first collaborative album, Send a Prayer My Way. A country-inspired record that’s been in the works since the singer-songwriters met in 2016, it was preceded by the singles ‘Bottom of a Bottle’, ‘Tuesday’, ‘Sylvia’, and ‘Sugar in the Tank’. The albumless concerned with reclaiming the genre’s traditions than reframing enduring themes of shame, betrayal, and heartache through a new, resilient lens and – more importantly – in good company. It’s an embrace, not some kind of reappraisal, which can make the ice thaw faster and devastating times, God willing, less so. Read the full album review.

Listen on
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Physical IconPhysical

Tunde Adebimpe, Thee Black Boltz

Thee Black Boltz, the debut solo LP by TV on the Radio singer Tunde Adebimpe, has arrived. Electrifying, immediate, and often defiantly hopeful, the record includes the previously released singles ‘Magnetic’, ‘Drop’, ‘God Knows’, and ‘Somebody New’. It was co-produced with Wilder Zoby, who also executive produced it, features additional production and contributions from Jaleel Bunton and Jahphet Landis (of TV on the Radio), among others. Making it “was my way of building a rock or a platform for myself in the middle of this fucking ocean,” Adebimpe explained. “The sparks of inspiration/motivation/ hope that flash up in the midst of (and sometimes as a result of) deep grief, depression or despair. Sort of like electrons building up in storm clouds clashing until they fire off lightning and illuminate a way out, if only for a second.”

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Beirut, A Study of Losses

Zach Condon’s latest release as Beirut is an 18-track odyssey commissioned by the Swedish circus Kompani Giraff for an acrobatic stage show of the same name. An interpretation of Verzeichnis einiger Verluste, a book by German author Judith Schalansky, A Study of Losses circles through 11 songs and seven extended instrumental themes, named after the lunar seas and informed by the story of a man obsessed with documenting all of humanity’s lost thoughts and creations. Though appropriately mournful, it’s in many ways a departure from the chilling atmosphere of 2023’s Hadsel, buoyed by string arrangements from cellist Clarice Jensen. “When I was first approached about writing a soundtrack for a circus, a certain amount of ‘Elephant Gun’ era trauma initially came rushing up,” Condon admitted. “I had been pigeon-holed for years as a whimsical circus waif, full of sepia-toned images of penny farthings and perhaps lion tamers with handlebar moustaches. It couldn’t have been further from how I pictured the music I was making. Ironic then, that I found Kompani Giraff’s project so enticing.” 

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quickly, quickly, I Heard That Noise

quickly, quickly – the project of Portland, Oregon, artist Graham Jonson – has followed up his impressive 2021 debut The Long and Short of It. Johnson initially conceived of what would become I Heard That Noise as a folk album before his penchant for experimentation naturally bore its influence, and the results are strikingly varied and evocative. Jonson likens the unpredictable shifts and bursts of distortion in his songs to “jump scares” in horror films. “Experimenting with the idea of being comfortable, and then some crazy shit flies at you,” he said, “takes you out of it for a second, and then maybe brings you back in.”

Mozzy, Intrusive Thoughts; CHIME OBLIVION, CHIME OBLIVION; Superheaven, Superheaven; Rhiannon Giddens and Justin Robinson, What Did the Blackbird Say to the Crow; The Convenience, Like Cartoon Vampires; Melvins, Thunderball; ZORA, Z D A Y; Divide and Dissolve, Insatiable; Heavy Lungs, Caviar; Fotoform, Grief Is a Garden (Forever In Bloom); Davido, 5ive; Hieroglyphic Being, Dance Music 4 Bad People; Mayday Parade, Sweet; Adrian Younge, Something About April III; King Kraken, March of the Gods; Little Barrie & Malcolm Catto, Electric War; Tony Holiday, Keep Your Head Up; Lucy Railton, Blue Veil; Tennota, Rosa Anschütz, Tornamented Walls.

Wisp Unveils New Song ‘Get back to me’

Konstantinos Pappis
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Wisp Unveils New Song ‘Get back to me’

Wisp has released a new song, ‘Get back to me’, following last month’s ‘Sword’. “‘Get back to me’ represents the greed for chaos, even at the cost of yourself,” the shoegaze artist said of the luminous single. “It’s about staying in a place you know isn’t good for you, yet you’re in a seemingly unbreakable cycle of going back – which portrays desperation, recklessness and limerence.” Check it out below.

Addison Rae Drops New Single ‘Headphones On’

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Addison Rae Drops New Single ‘Headphones On’

Addison Rae has shared a new track called ‘Headphones On’. It’s the latest in a string of singles that includes ‘Diet Pepsi’, ‘Aquamarine’, and ‘High Fashion’, though it leans more toward trip-hop. (Pair it with that new Bruce Springsteen song.) Rae co-wrote the deliciously wispy track with producers Luka Closer and Elvira Anderfjärd. Check out director Mitch Ryan’s video for it below.

New Pornographers Drummer Joe Seiders Arrested for Possession of Child Pornography

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New Pornographers Drummer Joe Seiders Arrested for Possession of Child Pornography

Joe Seiders, the drummer for the New Pornographers, has been arrested for possession of child pornography. According to the Riverside County Sheriff’s Department, Seiders was booked into the John Benoit Detention Center in Indio on April 9 and charged with possession of child pornography, annoying/molesting a child, invasion of privacy, and attempted invasion of privacy.

The New Pornographers have issued a statement on their Instagram account, which reads: “Everyone in the band is absolutely shocked, horrified and devastated by the news of the charges against Joe Seiders — and we have immediately severed all ties with him. Our hearts go out to everyone who has been impacted by his actions.”

The news release explains that police officers responded to “a suspicious circumstance” at a Chick-fil-A restaurant in Palm Desert, California, on Monday, April 7. When they arrived, an 11-year-old boy told deputies that “an unknown male adult recorded him on a cell phone while he was using the restroom at the location.” On April 9, police responded to an incident at the same location, where an employee told the officers that “a male was entering and exiting the restroom with juvenile males at the business.” The man was identified as 44-year-old Seiders and taken into custody.

Upon Seiders’ arrest, officials searched his home, vehicle, and cell phone and found evidence implicating him in the Chick-Fil-A bathroom incidents and further crimes, including possession of child pornography. Seiders is being held at the Larry D. Smith Correctional Facility in lieu of $1 million bail and is due to appear at the Indio Larson Justice Center on April 22.

Joe Seiders joined the New Pornographer in 2014, replacing longtime drummer Kurt Dahle. He played on three of the band’s albums: 2017’s Whiteout Conditions, 2019’s In the Morse Code of Brake Lights, 2023’s Continue as a Guest.

Reach Out for Help

If you or someone you know has been affected by sexual assault, we encourage you to reach out for support.
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Lana Del Rey Shares New Single ‘Bluebird’

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Lana Del Rey Shares New Single ‘Bluebird’

After releasing ‘Henry, come on’, the lead single from her next album, last week, Lana Del Rey changed the record’s title and release date, which remains undetermined. Today, the singer has shared a new track from what was previously called Lasso and then The Right Person Will Stay. It’s a luscious fingerpicked ballad that quietly soars as Del Rey repeats, “Just shoot for the sun ’til I can finally run/ Find a way to fly.” Del Rey co-wrote it with Luke Laird, and she co-produced it with Laird and multi-instrumentalist Drew Erickson. Check it out below.

How Much Should You Really Spend on an Engagement Ring?

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How Much Should You Really Spend on an Engagement Ring?

Selection of a perfect engagement ring is an exciting journey yet an important decision to take financially. Spending on an engagement ring is an important aspect of your love life symbolising expressing your love and commitment. Earlier people used to believe that one should spend at least two month’s salary to get the perfect engagement ring but now the trends have changed. By understanding essential factors and setting a practical budget they can make a smart investment for a lifetime. This guide by Loose Grown Diamonds covers the topics related to how much to spend on an engagement ring. Let’s get into details for better understanding. 

Factors to Consider When Setting a Budget:

It is significant to set a realistic budget before investing in your ring. Below are some of the factors you need to consider while setting a budget.

Financial Situation-

The primary factor should be your financial condition while setting the budget. It highly impacts the choices of your ring without straining your pocket, by cutting down the unnecessary spending. This helps you to stick to a strict financial plan making your spending more precise and affordable. 

Personal Preferences-

Considering the personal taste and preferences of your partner can help to get you the desired ring. Understand your partner’s choice whether they like classic designs or modern elegance, their taste will guide you to the best deal. 

Partner’s Expectations and Preferences-

Communicating with your partner regarding their expectations and choices helps you better understand and make the right decision. 

Ring Quality and Value-

The other important aspect is to look for the quality of the ring. Focusing on factors like 4Cs: Cut, Color, Carat, and Clarity can help you understand the quality grade of the ring. For example, a 2-carat engagement ring will differ in quality, size, price, and overall look from a 3-carat engagement ring.

How To Maximize Your Budget In a Smart Way?

It is fair to maximize your budget while purchasing an Engagement Ring without compromising the quality. Considering some strategies you can smartly set your budget without pinching your pockets. 

Shopping Smartly-

Smart shopping is a talent that can help you get your deal at an affordable price. Comparing the price of various reliable stores can get you the clear idea of an average engagement ring cost. Loose Grown Diamonds provides seasonal discounts and promotions for customers to make their shopping exciting and pocket-friendly.

Financing Options-

Creating a financial plan before getting into the shopping mode can also maximize your budget giving a clear idea of the costs. Many jewelers like Loose Grown Diamond offer financial plans with zero to low interests and buy-now pay-later options to make your shopping manageable without stressing your pockets. This also cuts down on unnecessary spending and saves money. 

Choosing Alternative Stones and Settings-

Considering alternative stones rather than traditional natural diamonds has helped you save a lot of money. A better substitute for mined diamonds is lab-grown diamonds that offer a similar look, brilliance, and sparkle at comparatively low prices. Loose Grown Diamond specializes in making lab diamonds with a variety of designs and settings at reduced cost. 

Conclusion:

The most common question asked while getting an engagement ring is how much should an engagement ring cost? The answer to this question is more simple as it involves the consideration of some factors. Creating a proper balance between the preferences, considering significant factors like 4Cs, proper budget and quality can be a great step in making the purchase process easier. Opting for the lab diamonds can cut down the extra costs. Considering smart shopping and exploring various alternatives allows you to find the perfect engagement ring for your love without breaking the bank. 

FAQ’s:

What Is The Acceptable Budget for an Engagement Ring? 

The acceptable budget varies depending on an individual’s personal choice and type of diamonds. However, it is recommended to spend a considerable amount of money. 

What Is The Rule for Spending on an Engagement Ring? 

Traditionally people used to believe that a person should spend at least two months’ salary for their engagement ring. However, the trend is outdated, leading to one’s personal preference and budget. 

How Much Do People Actually Spend on Engagement Rings?

With the introduction of lab-grown diamonds, spending on engagement rings has become more affordable. The average cost of an engagement ring ranges from $2000 to $7000, varying widely based on the diamond shape, size, and personal choices. 

How Can I Save Money on an Engagement Ring?

To opt for practical spending and saving money while getting an engagement ring, go for lab-grown diamonds. 

Where Is The Best Place to Buy an Engagement Ring? 

Loose Grown Diamonds is a reliable and reputable diamond retailer to get your engagement ring. With its exceptional collection, professional services, good quality, and customization availability, it is the best place to consider.

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