Modern game design has evolved into a powerful medium of cultural expression, where the visual component serves as a universal language. Three-dimensional game environments have become more than just backdrops for gameplay — they shape an emotional connection between the player and the virtual world, convey cultural codes, and create unforgettable impressions.
The Evolution of Visual Storytelling in Games
Over the past ten years, the game industry has radically transformed its approach to environment creation. Whereas previously the main focus was on technical execution, today the emphasis has shifted toward crafting atmosphere and deep immersion. According to the Entertainment Software Association, visual design remains one of the key factors when choosing a game for most American players.
3D environments have become a means of cultural communication. Developers from different countries incorporate elements of national architecture, color schemes, and stylistic features unique to their culture into their projects. This creates a distinctive palette of visual solutions that enrich the gaming experience.
Technological Breakthroughs and New Possibilities
The development of real-time technologies has significantly expanded the possibilities for environment artists. Modern engines make it possible to create photorealistic locations with dynamic lighting, complex materials, and interactive elements. Ray tracing, procedural generation, and AI-assisted tools open up new horizons for creativity.
Optimization of production processes plays a crucial role. 3D environment design requires well-coordinated teamwork, where every element — from the conceptual sketch to the final render — must align with the project’s overall vision. Contemporary studios are adopting agile methodologies and using cloud-based solutions to speed up development.
VSquad Studio: Mastery of Visual Storytelling
Over ten years of work, the VSquad Studio team has developed a unique approach to creating game environments. Our specialists have contributed to the visual components of projects across various genres — from stylized indie games to AAA titles with realistic graphics.
Experience working with international teams has given us insight into how cultural characteristics influence the perception of game environments. Projects involving our studio have received recognition at the Steam Awards and have been showcased at major gaming expos.
The Psychology of Game Space Perception
Research in cognitive psychology shows that game environments impact players’ emotional states as strongly as real-world spaces. According to studies by the University of Rochester, well-crafted interactive environments can improve players’ cognitive abilities and enhance learning outcomes.
Color choices, composition, scale, and detail — all these elements function as a cohesive system that sets the desired mood. Warm tones and organic shapes contribute to relaxation, while contrasting colors and sharp angles increase tension and focus.
The Future of Game Environments
The industry is moving toward even greater interactivity and personalization of game spaces. Machine learning technologies will enable the creation of environments that adapt to the preferences of individual players. Virtual and augmented reality will unlock new formats of interaction with three-dimensional worlds.
The growing popularity of user-generated content also influences the development of environment design tools. Players increasingly want not only to consume content but to create their own worlds, which demands more intuitive and accessible solutions.
Modern 3D environment design is a synthesis of technical mastery, artistic vision, and deep understanding of game mechanics. Teams capable of combining these competencies create not just beautiful visuals, but living worlds — places where players want to spend their time and to which they want to return again and again.
In Josefina Sumar’s sculptural lexicon, the body emerges not as a stable referent but as a contested terrain—unruly, fractured, and insistently material. Her recent work, encompassing ceramic assemblage, textile intervention, and photographic performance, engages in an aesthetics of corporeal estrangement that resists resolution. Rather than presenting the body as subject, Josefina positions it as process: a mutable site of trauma, resistance, and tentative repair.
I’m not going anywhere Found object, fabric, stuffing, plaster. 132 cm x 41 cm x 282 cm. 2025Leaks (From the series Inners) Found objects, fabrics, stuffing 2025
Within series such as Inners and Get Yourself Together, shown during her residency at MASS Education, Josefina activates a tension between formal abstraction and visceral reference. The contorted ceramic tubes of Inners recall internal organs not through mimetic precision but via affective resonance—suggesting esophageal contortion, digestive loops, or obstructed flow.
Materially, Josefina’s practice is guided by a tactility that borders on the confrontational. Clay, fabric, stuffing, thorns, and found debris are not merely mediums but signifiers—each indexed to states of excess, rupture, and vulnerability. In works like Oops (2025), textile forms sprawl across the floor in what appears as a half-domestic, half-anatomical spillage. These anthropomorphic silhouettes function as uncanny vessels: familiar yet estranged, playful yet grotesque. There is an intentional semiotic slippage here—the body appears only in fragments, often abject, never whole.
Oops Fabric, stuffing, rope and seeds. 290 cm x 47 cm x 44 cm. 2025Oops Fabric, stuffing, rope and seeds. 290 cm x 47 cm x 44 cm. 2025
The shift from ceramic to soft sculpture marks not only a material transition but an epistemological one. If ceramics encode containment and control, the textile works operate through leakage, folding, and collapse. Josefina’s engagement with softness is anything but passive; it becomes a site of critical intensity. Her use of textile stuffing, for instance, complicates the notion of interiority—stuff bursts out, stretches, recoils. These forms undermine sculptural containment, foregrounding instability as both formal and conceptual strategy.
Get Yourself Together Found, damaged and discarded pieces of ceramics and cardboards. Variable 2025
In Get Yourself Together, Josefina turns her attention to the idea of recuperation—but not in the neat, redemptive sense we might expect. These sculptures are pieced together from fragments of discarded ceramic works, often the failed remains of other artists’ attempts. Rather than concealing the cracks, she lets the damage stand, even amplifies it. Each piece sits on a wobbly cardboard plinth, no two quite the same height, creating an uneven field where no object dominates. The result is less a story of healing than a quiet proposition about upkeep—messy, unglamorous, and lived in the body.
This embrace of incompleteness carries over into Efimeral Bodies, a photographic series where Josefina folds her own body into improvised sculptural setups. The images drift somewhere between performance and self-portrait, translating the physical language of her installations into staged, bodily scenes. The invented word “Efimeral”—splicing the English “ephemeral” with its Spanish cousin—points to the way her whole practice lets language slip, mutate, and refuse stability. Words, like bodies, are left partial and in motion.
Efimeral Bodies (Photography Series)
What sets Josefina apart is her ability to let material speak for itself—not as metaphor, but as trace and evidence. Her work could be described as a poetics of disrepair: a sculptural vocabulary where breakage, softness, and decay are not flaws but ways of knowing. In an art world increasingly drawn to the glossy and the conceptual, she reintroduces the weight of the visceral. The work doesn’t offer closure or easy beauty—it asks us to stay with what’s uneasy, to treat that discomfort as a place where something new might grow.
Homeowners are looking for window treatments that provide comfort, style, and energy savings. Traditional shades have long been popular, but newer technology offers exciting alternatives. Solar roller screens are one of those innovations gaining attention for their versatility and performance. They help reduce glare, block harmful UV rays, and let you enjoy the view outside. Many people appreciate how these screens improve comfort without making rooms feel closed off or dark. They also pair well with modern home designs and advanced home systems. Many homeowners are switching to retractable solar shade systems because they deliver a sleek look and effective sun control. They are a fantastic choice for a bright, stylish, welcoming home. These screens offer benefits beyond appearance. They improve energy efficiency, protect interior furnishings, and provide flexible light control.
Better Control of Heat and Glare
Solar roller screens work well at blocking heat and harsh sunlight. They help keep rooms cooler by blocking harsh sunlight from coming in. This can make rooms feel cooler on hot days and reduce the need for air conditioning. At the same time, they still allow filtered light to enter, which helps maintain a pleasant indoor environment. Controlling glare is another important benefit. Rooms with large windows often struggle with intense light that affects TV screens and computer monitors. These types of screens minimize glare, making spaces more comfortable for work and relaxation without sacrificing outside views.
Protection for Furniture and Flooring
Sun exposure can fade furniture, flooring, and artwork over time. Traditional shades can help but often block the view and darken the room. Solar roller screens reduce harmful UV rays while keeping spaces bright and open. This means valuable items inside the home stay protected for longer periods. Homeowners can keep their favorite furnishings and decor looking vibrant while still enjoying the benefits of natural sunlight. It is a smart way to extend the life of interior investments without compromising design preferences.
Modern Look and Style
Many people appreciate the clean and modern design of solar roller screens. They have a simple appearance that blends easily with most interior styles. Their sleek design works well for both contemporary homes and those with a more classic look. They are also available in different fabric options and levels of transparency. This makes it easy to choose a style that fits the space while still providing the desired amount of light control. Unlike bulky traditional shades, these screens feel fresh and current.
Ease of Use and Flexible Options
Solar roller screens are simple to operate and often come with advanced features. Many can be motorized for easy remote control or connected to smart home systems. This convenience makes it simple to adjust them throughout the day. They fit nicely in living rooms, patios, and even home offices. With flexible sizing and customization, they fit many different window types. The ease of use and versatile design make them practical for both residential and commercial spaces.
Energy Efficiency and Cost Savings
By reducing heat gain, solar roller screens help lower cooling costs in warm months. They act as an extra layer of insulation, keeping indoor temperatures more stable. This energy efficiency can lead to noticeable savings on utility bills over time. These screens also block UV rays, which helps protect furniture and floors from fading. That means less frequent replacement of faded or damaged items, which saves money in the long run. Saving energy and protecting furniture makes them suitable for the environment and easy on the budget.
Solar roller screens offer a smart solution for modern homes. They block heat and glare while protecting furniture and flooring from sun damage. Their sleek look and flexible options make them an attractive choice for any room. With features like motorized operation and energy efficiency, they go beyond what traditional shades can deliver. For homeowners seeking style, comfort, and performance, solar roller screens provide a practical and appealing upgrade.
Adult performers are reshaping fame through digital platforms, forging new models of celebrity beyond traditional media. No longer confined to the roles offered by studios or restricted by geographic boundaries, these performers are using social media and subscription services to cultivate direct relationships with their audiences. This shift allows for more personalized engagement and control over their public personas. In doing so, they challenge longstanding industry norms and societal perceptions, creating a form of stardom that is decentralized, data-driven, and reflective of a wider cultural acceptance of adult entertainment as part of mainstream conversation.
By mid‑2025, OnlyFans counts over 220 million registered users and more than 2.2 million active creators, with the platform having paid out over $5 billion to contributors. Such scale marks a sea change: adult performers are no longer limited to studio productions, but can build star status via direct access and global reach.
This article examines how adult performers are redefining celebrity, exploring their digital strategies, evolving fame metrics, stigma disruptions, and cultural crossover.
From Screen to Social Media
Once reliant on film-based roles, many adult performers now build their reputations through social channels and subscription platforms. Sites like Instagram, Twitter and OnlyFans enable them to connect directly with fans and sell content on their own terms.
This self-directed visibility extends to performers listed as Slixa Pornstar Girls on Slixa’s public escort directory listings—they manage profiles and personal branding that drive traffic across platforms while maintaining control over their image. Real-time interaction, custom messaging, and exclusive content subscriptions mean performers can bypass traditional gatekeepers entirely. In turn, this model has produced a digitally native form of celebrity marked by autonomy and personal voice.
The New Metrics of Fame
Where fame once meant box-office receipts or record sales, celebrity in this space is now measured through engagement figures and paid interaction. Most creators on OnlyFans earn between $150 and $180 per month, or around $2,000 annually, though more than 80% of creators earn less than $100 monthly. The top 1% of creators capture roughly 33% of total platform revenue, while the top 10% account for 73%. A very small fraction of creators earn five‑ or six‑figure sums per month, often due to existing fame, niche positioning or large followings.
Subscriber counts, tip volume, messaging frequency and viral social media traction now define status. A viral post on TikTok, Threads or X can translate quickly into new paying fans, and personalized engagement becomes a stronger predictor of income than traditional marketing. In this structure, influence is both measurable and monetisable in real time.
Breaking the Stigma
The adult industry has long carried social stigma, but a growing number of performers are pushing back, appearing in cultural platforms—documentaries, podcasts and public debates—to challenge public preconceptions. In some places where sex work is legalised or regulated, operators speak at panels and contribute to journalism and research, helping shift public dialogue around sexual agency and consent. Their presence in mainstream press and academic discourse offers multi-dimensional representations rather than stereotyped caricatures.
Beyond advocacy, performers contribute commentary on sexual health, self-determination and creative control. These engagements humanise individuals in the public eye, recasting adult performers not simply as entertainers, but as active participants in cultural conversations around gender, sexuality and labour.
Crossover Moments in Pop Culture
In recent years, adult performers have increasingly crossed into broader creative realms. Some appear in fashion editorials, art photography series and independent cinema. Others are cast in music videos, documentaries or television interviews, bringing adult entertainment figures into mainstream storytelling spaces.
For example, Sasha Grey moved from adult films into arthouse cinema; actresses like Traci Lords and Ron Jeremy appeared in cult films and independent productions. More recent faces include affiliated performers collaborating with directors and magazines that appreciate erotic aesthetics. As one notable case, an award-winning performer has featured in mainstream media coverage of film festivals and photo exhibitions, discussing performance, identity and aesthetics beyond adult platforms.
These crossover moments expose performers to new audiences and contexts, altering perceptions and expanding their professional identities. In 2025, crossover is less about shock and more about integration: performers deploying their presence in broader artistic discourse.
Rethinking Celebrity in a Digital Age
The traditional definition of celebrity is evolving. Adult performers now build public profiles via social platforms and content subscriptions, where engagement metrics and audience connection determine influence. Most creators earn modestly, yet top-tier performers command attention through niche content and strategic visibility.
As stigma softens through increased media appearances and ongoing social advocacy, more performers are stepping beyond the boundaries of adult entertainment to engage with mainstream culture—whether in art, film, fashion, or literature. This crossover reflects a broader cultural shift where adult performers are not only entertainers but also creators, commentators, and collaborators, influencing diverse creative fields.
In an era defined by digital connection and constant interaction, celebrity has transformed from a one-way projection of fame into a dynamic, reciprocal relationship between public figures and their audiences. Adult performers, through their adaptability and visibility, are among the pioneers actively reshaping what it means to be famous today.
Each bride desires that one second, the first step down the aisle, the flicker of a breeze on a summer time afternoon, the sensation of absolute joy wrapped in beauty. That’s the heart of the summer time Bride series with the aid of Dolce Vita. And this season, it’s now not pretty much stunning robes or magical venues. It’s approximately an appropriate pair of shoes that convey you via every second of your wedding day.
This fresh drop from Dolce Vita is complete with soft textures, timeless pearls, walkable heels, and convenient style all crafted for the present day bride who wants consolation and beauty without compromise. If you’re planning a summer wedding, these brand-new arrivals are the entirety you didn’t recognize you needed.
Permit’s explore five of the most thrilling new styles from the collection. Each one is designed to combine seamlessly along with your wedding get dressed, your venue, and your unique bridal electricity.
Kamra Pearl Mid Heels – True White Satin | $150
The first pair that stuck our eye? The Kamra Pearl Mid Heels. They’re the entirety a summer season bride should need fashionable, female, and ready for a full day of celebrating. Those heels are protected in real white satin with soft pearl accents across the straps. It’s no longer overdone; it’s just the right quantity of element that feels special without being flashy.
What makes Kamra truly shine is how wearable it is. The mid heel gives you enough raise to feel dressed up, however you gained’t be aching by the time the cake is reduced. The satin straps gently wrap your feet and maintain you constantly whether or not you’re taking walks across grass or dancing barefoot beneath string lighting fixtures. Those are the footwear for brides who need grace and simplicity rolled into one.
Rexa Heels – True White Leather | $100
Not every bride wants something frilly and if clean lines and classic leather are more your style, the Rexa Heels are a perfect match. They’re simple inside the best way. Made with clean white leather and a block heel that gives simply enough top, they sense effortlessly cool.
Those are footwear you could put on after the marriage. Pair them with your gown for the ceremony, switch up your look for the reception, and then throw them on again for your honeymoon brunch. They’re that versatile. Plus, the open layout and mild feel cause them to dream for hot summer season days. fashionable, smart, and directly to the point similar to the brides who pick them.
Cleo Heels – Off White Satin | $110
If you’re the type of bride who desires to hold matters classic but still feel clean and current, then the Cleo Heels will talk your language. Those heels are crafted from costly off-white satin, giving them a softer, greater romantic look than stark white. The crisscross strap layout adds a contemporary twist that’s nevertheless easy to wear and pretty flattering.
The heel is secure enough to put on for hours, and that they work superbly for both formal indoor weddings and cozy outside events. They pair just as well with a protracted flowing gown as they do with a more minimum bridal look. What do we love most? They feel elegant without trying too hard like they belong in a perfect summer love story.
Elasi Pearl Heels – True White Satin | $160
Want something that sparkles but still feels refined? Then take a look at the Elasi Pearl Heels. Those beauties integrate present day bridal fashion with just the right quantity of glam. Set on actual white satin, the pearl detailing along the straps adds a tender shimmer with every step you’re taking.
In spite of their taller heels, they’re shockingly secure. Dolce Vita surely has a concept about how long a bride needs to be on her toes. Whether you’re standing through a ceremony, posing for hundreds of pix, or dancing the night away, Elasi maintains your feet feeling supported and elegant. They’re formidable inside the pleasant way designed for brides who want their footwear to say something.
Eloy Pearl Heels – True White Satin | $160
In case you’re in love with pearl accents however need something a bit greater subtle than Elasi, then the Eloy Pearl Heels might be your ideal suit. those have a softer, greater delicate experience. Pearls are positioned in an extra organic sample throughout the satin straps, giving off a romantic vibe.
The form is classic and the heel height is good, simply sufficient to provide you that assured posture without making you matter down the minutes to kick them off. Eloy feels just like the kind of shoe you’ll recollect forever, the only thing that makes you smile every time you spot it on your closet. It’s the ultimate “something special” without feeling overdone.
Why These Styles Are Summer Bride Essentials
Each of these heels brings something particular to the desk, however they all proportion some things in common that lead them to perfect for summer time weddings:
Lightweight materials substances that receive’t weigh you down, even on the warmest day.
Supportive heel structures that hold you grounded and relaxed.
Fresh, romantic designs which can be genuinely bridal, however no longer caught in lifestyle.
Timeless details like pearls, satin, and easy shapes in an effort to in no way go out of style.
And most importantly comfort, so you can be fully present on your big day.
These aren’t shoes you buy just because you “need something to wear.” These are shoes that add to the magic.
Step into Your Bridal Story with Dolce Vita
Your wedding ceremony isn’t just one moment, it’s a whole day (and night time!) of unforgettable recollections. And also you deserve footwear that may preserve up. The brand new releases in Dolce Vita’s summer Bride series had been made for modern brides who need all the splendor, consolation, romance, and a little bit of edge.
Whether you’re getting married with the aid of the ocean, in a metropolis rooftop lawn, or on your parents’ backyard, there’s something on this new series that fits your imagination and prescient. From the pearl-best beauty of Kamra and Elasi, to the smooth simplicity of Rexa and Cleo, or the gentle appeal of Eloy each pair offers something unique.
Find Your Perfect Pair
You don’t need to settle. Dolce Vita’s cutting-edge arrivals are on line now, waiting to finish your wedding appearance. And due to the fact these patterns are modern-day, you’ll be some of the first to wear them, making your bridal fashion experience even extra personal.
So go beforehand, discover the overall summer Bride series at dolcevita.com/collections/bride and spot what feels proper for you.Due to the fact with regards to your wedding day, every step matters. Make yours unforgettable.
Disclaimer: If you buy something through links on our site, we may earn an affiliate commission.
Discover the most fascinating spots in Georgia’s capital. Insider tips, top attractions, and how to get around
Intro: A City That Stays With You
Some cities leave you with pictures. Tbilisi leaves you with stories.
It’s the kind of place where cobbled streets echo with laughter, where balconies lean over alleyways as if listening in, and where strangers pour you wine just because you’re there. Georgia’s capital is not polished or picture-perfect — and that’s exactly why it pulls you in.
In 2025, Tbilisi remains one of the most authentic and welcoming destinations in Europe and the Caucasus. If you’re heading there soon, this guide will walk you through everything you need — from the iconic spots to local secrets, how to move around, and where to escape for a day trip.
1. Getting to Know Tbilisi: Where It All Begins
Start in the Old Town. That’s where Tbilisi’s heart beats loudest. Think crooked streets, colorful balconies, hidden courtyards, and a smell of fresh bread or sulfur rising from the famous bathhouses.
Wander down Shardeni Street, climb up to Narikala Fortress (your calves might protest, but your eyes will thank you), then descend into the Abanotubani district for a glimpse of the iconic domed sulfur baths.
Where to stay? Check out Sololaki, Avlabari, or Vera — charming neighborhoods with traditional houses and epic views. Where to eat? Follow the locals to spots like Machakhela, Sakhli #11, or Racha. And don’t be afraid to step into tiny courtyard restaurants — they often hide the best khinkali and homemade wine.
2. Must-See Places in Tbilisi
Here are the 7 spots you simply can’t miss — not just for photos, but for the feels:
Narikala Fortress – Take the cable car or hike up. The view over Tbilisi is unforgettable, especially at sunset.
Sulfur Baths (Abanotubani) – A signature experience. The mineral-rich hot water soothes the soul (and the feet).
Rustaveli Avenue – The city’s grand boulevard, lined with museums, theatres, and old-school charm.
Bridge of Peace – A modern glass structure that glows at night and connects the old with the new.
Mtatsminda Park – Ride the funicular up for an amusement park, panoramic views, and romantic walks.
Sololaki – Lose yourself in 19th-century courtyards and staircases. It’s like walking through a film set.
Fabrika – A repurposed Soviet sewing factory turned hipster hub with cafes, art, bars, and the coolest people in town.
3. Insider Tips: Where Locals Actually Hang Out
If you want to experience Tbilisi beyond the postcards, ditch the maps. Let your instincts guide you.
Peek into courtyards — you’ll find kids playing, grandmas hanging laundry, or maybe a spontaneous guitar session.
Visit the Dezertirebi Bazaar (aka “Desertirka”) to experience real Georgian market culture. Spices, cheeses, wine, dried fruit — it’s loud, chaotic, and wonderful.
In the evening, skip the tourist-packed restaurants and hit up cozy wine bars like g.Vino, 8000 Vintages, or DADI. They serve rare regional wines and, more importantly, real conversations.
4. Getting Around Tbilisi
Tbilisi is a walkable city, especially in the center. But when you need to go further:
Metro – Clean, fast, cheap. Two lines. It’s impossible to get lost.
Marshrutkas and buses – Affordable and chaotic. Payment is contactless — just tap your bank card.
Taxis & Bolt – Bolt works great here, with fair prices and reliable service. Uber isn’t available.
Getmancar carsharing – A solid option for flexible city travel. Park almost anywhere, grab a car in minutes, all through the app.
Scooters – Available through mobile apps, perfect for dodging traffic.
And if you want full freedom — especially for trips outside the city — consider car rental in Tbilisi. It gives you total control over your route and timing.
5. Day Trips Worth Taking
If you have even one free day — get out of the city. Georgia’s countryside is pure magic.
Mtskheta – The ancient capital of Georgia. Quiet, spiritual, and just 30 minutes from Tbilisi.
Jvari Monastery – A 6th-century gem on a hill with sweeping views over the meeting point of two rivers.
Ananuri Fortress – A lakeside castle perfect for golden hour photos and calm walks.
Kazbegi (Stepantsminda) – The ultimate road trip: winding mountain roads, endless views, and the Gergeti Trinity Church set against Mt. Kazbek. A must if you’re renting a car.
You can get to most of these by marshrutka (shared minivan), group tour, or your own wheels.
6. Let Tbilisi Do Its Thing
Tbilisi isn’t a checklist city. It’s a city you feel.
It’s the clink of wine glasses in a stranger’s courtyard. It’s the slow walk up a steep street at dusk. It’s that random jazz band you stumble upon near the baths. It’s the way this place gets under your skin without asking permission.
So wear comfortable shoes. Keep your camera handy, but don’t rely on it too much. Let yourself get lost. Talk to people. Say yes to the wine.
And if you want to explore Georgia at your own pace — from wineries in Kakheti to mountain passes in Kazbegi — start your adventure with a car rental in Tbilisi. It might just be the best decision of your trip.
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Wednesday, August 6, 2025.
Disclosure & Anderson .Paak – ‘NO CAP’
Disclosure and Anderson .Paak have joined forces for a scintillating summer anthem called ‘NO CAP’. “Creating something with Andy has been a long time coming!” Disclosure commented. “We first met at our show at Forrest Hills in NYC back in 2015 and have been fans of his for even longer. The time finally felt right and the right song appeared. He’s one of the most talented musicians we have ever worked with and we can’t wait for you all to hear this one and perform it live together soon.” .Paak added, “This collab is well overdue and I can’t wait to feed the people! We’ve been teasing the track for a little bit and it never misses! ‘No Cap’ is the ideal dance floor banger you don’t have to think about!”
Wolf Alice – ‘White Horses’
Wolf Alice have released ‘White Horses’, the third preview of their forthcoming LP The Clearing. Following ‘Bloom Baby Bloom’ and ‘The Sofa’, it’s the only song on the album to feature drummer Joel Amey on lead vocals, and it dives into his relationship with family and heritage. “I was inspired by what songs we had already that were becoming The Clearing; the sonic shapes we were creating, the big acoustics, the harmonies, but I wanted to underpin it with a driving krautrock beat.” He added, “We’ve never really known where we came in terms of heritage until recently. My mum and my aunt were adopted, and for years it posed questions of identity and where our roots lay for all of us, but for me, they never seemed like answers I needed to find out.”
Danger Mouse & MorMor – ‘Wonder’
Danger Mouse has teamed up with Toronto indie artist MorMor for a moody new-wave soul track called ‘Wonder’. “My relationship with Danger Mouse started when he invited me to meet and play music,” MorMor commented. “From time to time, we’d hang out and listen to records or watch films, not necessarily making music — I think we were both seeing if we could find an intersection where it’d make sense to pursue an idea. ‘Wonder’ came from exactly that.”
Grumpy – ‘Bird Parts [feat. Harmony]
Grumpy’s latest single, ‘Bird Parts’, is a hypnotic collaboration with ex-Girlpool member Harmony. “In the timeline of the Piebald story, Bird Parts was the second-to-last song written,” Heaven Schmitt shared, referring to their forthcoming EP. “After the complicated excitement of Crush, the denial of Deeptalker, the last-ditch hope of Proud of You, and the devastation of Knot, Bird Parts is my unraveling.” Schmitt continued:
I was living in Chicago, realizing I was accepting crumbs and I didn’t know why. My husband and I were hanging by a thread, and the girl I loved didn’t want me, she wanted my husband. I wrote Bird Parts about that painful proximity to the thing I wanted: “my girl isn’t mine, I’m a bottom feeder / I can’t kiss her but she calls me when I really need her.” I was settling for being near her love, but not the recipient of it.
I thought maybe we could make it work. Maybe we could stay an unconventional family. But it didn’t last. I didn’t want to be the unwanted sister-wife in this collapsing matrix. I started to unravel, to question what I was even doing there.
That chaos is reflected in the song itself. It’s the only track on the EP that sings in a more vague, dream-like voice.
Margo Price – ‘Losing Streak’
Margo Price has released a new single, ‘Losing Streak’, which finds her revisiting her earliest days in Nashville. “It is a coming of age story inspired by struggle, substances and the search for the perfect song,” Price said of the Hard Headed Woman single. “It was co-written with my husband and songwriting partner, Jeremy Ivey.”
Gab Ferreira – ‘Law of Nature’
São Paolo singer-songwriter and model Gab Ferreira – whose music blends Brazilian musical traditions and dreamy psych-pop – has announced a new album, Carrossel, with the enchanting lead single ‘Law of Nature’. It’s about “reconnecting with the spark in everyday life,” Ferreira said, “falling in love with the unknown and learning to take risks.”
Casey Dienel – ‘Your Girl’s Upstairs’
Casey Dienel, the Massachusetts musician who used to make music as White Hinterland, has returned with a sharp-edged new single, ‘Your Girl’s Upstairs’, which leads the new album My Heart Is an Outlaw. The LP was recorded in Los Angeles with Landlady’s Adam Schatz on production, with contributions from Hand Habits’ Meg Duffy on guitar, Spencer Zahn on bass, and Max Jaffe on drums and production. ‘
Total Wife – ‘make it last’
“‘make it last’ started as kind of a horny song,” Total Wife vocalist and lyricist Ash Richter said of the band’s thrillingly cacophonous new single, which is taken from their forthcoming album Come Back Down. “I was experimenting with lyric writing that felt a little less serious or sappy, but the more I worked through it, the more it kind of ended up as a love song to the road, or like an ode to time passing veiled by the excitement of living. When overwhelming euphoria removes you from your surroundings and sense of time.”
dust – ‘Drawbacks’
Australian five-piece dust have announced their debut LP, Sky Is Falling, dropping October 10 via Kanine Records. It’s led by the pummelling yet hopeful ‘Drawbacks’, which is “about everyday feelings and thoughts that one experiences and leaning towards the ones that make you confused or in doubt,” bandleader Justin Teale explained. “Feelings of shame and regret in social surroundings where you should feel comfortable, and you can’t shake off the head noise. I guess this song is a way of talking to myself in the same way I do with my thoughts without sounding pretentious. With the vocal delivery being so quick it almost portrays as a word vomit of the things that you say to yourself in your head. The people around me I love and am very inspired by, I look up to them and notice how they deal with social settings and communication, it almost feels like I’m studying them.”
Jonatan Leandoer96, Elias Rønnenfelt, & Fousheé – ‘Little Gods’ and ‘My Suitor’ (Bernthøler Cover)
jonatan leandoer96 is the alter-ego of Yung Lean, who last year released his album Jonatan, but not under that name. Confusing! Anyway, today he’s revived the moniker for an unlikely collaboration with Iceage frontman Elias Rønnenfelt and neo-soul artist Fousheé. ‘Little Gods’ is quietly revelatory, and its B-side is a dreamy cover of ‘My Suitor’ by the Belgian new wave band Bernthøler.
Aesop Rock – ‘Roadwork Rappin”
Aesop Rock’s imaginative streak continues with his latest single, ‘Roadwork Rappin”, arriving on the heels of his album Black Hole Superette. It’s targeted towards children, and it’s appropriately playful. “A few friends of mine have children who are completely fascinated by large construction vehicles,” the rapper commented. “They know all the names and functions and will cheer as trucks drive past. This song is for all the young people out there fascinated by these massive vehicles and their work.”
Twin Shadow – ‘Dominoes’
Twin Shadow has released ‘Dominoes’, the joyously intimate first single from his seventh album CADET. “Dominoes is a reflection on vulnerability, distance, and devotion,” he said of the track, which he produced with longtime friend and collaborator Blackpaw. “The chorus sings: If my heart is an ocean / it’s totally blue = I’m all in.”
Cut Copy – ‘Still See Love’
Melbourne’s Cut Copy have dropped ‘Still See Love’, a slinky, optimistic new cut from their upcoming effort Moments. “‘Still See Love’ was a tune that came together pretty quickly, written about a couple clinging to what’s left of a relationship as it slowly capsizes,” frontman Dan Whitford said. “My idea was to make a song that had a verse and chorus that came from different worlds. We tried to make the verses as loose and organic as possible, layering live bass, percussion and spaced out roomy drum sounds, inspired by hybrid disco-dub productions of artists like Arthur Russell, Francois K, and ESG. Then in the chorus the whole track empties out, going from a big cavernous space into a tiny one, driven along by a minimal stuttering synth rhythm. I love the sense of contrast we achieved in this song. It’s constantly flipping back and forth between worlds and it almost feels like it exists in two places at once.”
Guedra Guedra – ‘Tamayyurt’
Guedra Guedra has unveiled a new single, ‘Tamayyurt’, which means “full moon,” as an ode to North Africa’s Amazigh people. “‘Tamayyurt’ is not only a tribute to a cherished tradition but also a reinvention of it,” Abdellah explained. “It’s a celebration of cultural heritage, capturing the spirit of joy and togetherness during moments of celebration, such as weddings, the new harvest season, or a warm welcome to visitors.”
Adore – ‘Sweet Keith’
Irish punks Adore have announced their debut EP, BITER, due out September 26 via Big Scary Monsters. It’s produced by Daniel Fox and led by the dynamically exuberant ‘Sweet Keith’, which has some palpable Guerilla Toss energy. “‘Sweet Keith’ is a very honest and obvious song,” vocalist Lara Minchin remarked. “One of my best friends noticed that a lot of my friends have far apart eyes, and came to the conclusion that this trait was much the same as ‘prey’ eyes in the animal world. She then went on to say that she believed that a lot of my friends had far apart eyes which then translated in my monkey brain as to be gentle and safe as opposed to predators which typically have their eyes right on the front of their face. Sweet Keith is about my love for my friends and my love for how they always come as they are, their energy and their stories. It’s one of my favourite songs to play live and within the EP it is the beginning of what is to come for adore. Sweet Keith is the manifestation of all of my favourite people rolled into one name and when we play it live and people who I love are in the crowd I feel like it’s a song for them.”
São Paolo singer-songwriter and model Gab Ferreira has announced a new album, Carrossel, which arrives on October 10 via DVLPMNT/Balaclava. It’s led by the warm, enchanting new single ‘Law of Nature’, which follows earlier cuts ‘Ponta da Língua’ and the title track. It’s about “reconnecting with the spark in everyday life, falling in love with the unknown and learning to take risks,” according to Ferreira. Check it out below.
Carrossel Cover Artwork:
Carrossel Tracklist:
1. Law of Nature
2. Carrossel
3. Quando eu Olho
4. Ponta da Língua
5. Meia Luz
6. Mudanças
7. Seu Olhar
8. But You
9. Começos
10. Choir
11. Acordar
Wolf Alice have previewed their forthcoming fourth album with a new track called ‘White Horses’. Following ‘Bloom Baby Bloom’ and ‘The Sofa’, it’s the only song on The Clearing to feature drummer Joel Amey on lead vocals, and it grows into a cathartic duet with Ellie Rowsell. Check it out below.
“I was inspired by what songs we had already that were becoming The Clearing; the sonic shapes we were creating, the big acoustics, the harmonies, but I wanted to underpin it with a driving krautrock beat,” Amey explained in a statement. The track was born out of some lyrics he jotted down during a car journey with his mum, aunt, and sister. “We’ve never really known where we came in terms of heritage until recently. My mum and my aunt were adopted, and for years it posed questions of identity and where our roots lay for all of us, but for me, they never seemed like answers I needed to find out.”
Amey added: “I was on this big adventure with my best mates, never feeling the need to call one place home, living out a suitcase, all the stuff that comes with being in a band. I felt that the answers to ‘who I am and where do I come from?’ didn’t matter so much; I’d chosen my family and they were the people around me.”
”White Horses was me trying to put all that into a tune, and Ellie, Joff and Theo helped me all along the way,” he concluded.
Humour is a Glasgow outfit made up of vocalist Andreas Christodoulidis, guitarists Jack Lyall and Ross Patrizio, bassist Lewis Doig, and drummer Ruairidh Smith. Christoulidis and Lyall have known each other since they were five years old, connecting with Smith at the start of high school and Doig and Lyall in university. They released two EPS, 2022’s Pure Misery and 2023’s A Small Crowd Gathered to Watch Me, before setting aside most of last year to work on new music, which will materialize in a few days in the form of their debut album, Learning Greek. Its title is taken from a line from discarded track about Christodoulidis’ decision to start learning the language as a second generation Greek, and though he spends most of the album screaming in an American accent that bears out the characters he’s inhabiting, you can hear him speaking it a bit in conversation with his father on the eponymous track, where they read Andreas Embirikos‘ poem On Philhellenes Street. “This searing heat is necessary to produce such light,” he writes of the overwhelming weather in Athens, not unlike how Humour’s alluring, dreamlike hooks and tender revelations radiate through their blistering post-hardcore. Christodoulidis amalgamates personal, familial, and mythological stories much in the same way the group bridges styles, resulting in a record that is as fiercely heartfelt as it is surrealist, and, well, humorously absurd.
We caught up with Humour’s Andreas Christoloudis for the latest edition of our Artist Spotlight series to talk about his earliest memories of Greece, juxtaposing heaviness and melody, what Learning Greek means to him, and more.
I was really sorry to hear about your grandfather’s passing last week. I can’t imagine receiving that news when you’re supposed to be promoting anything, let alone this record. I was actually listening to ‘Dirty Bread’ when your publicist told me.
Thanks, man. He had the funeral in Athens, but it was too short notice, so I wasn’t able to go. That song was a lot about the sadness of how I would see him in his later years, especially. In the time just before he died, he was very unwell, so it was kind of his time. But I was worried a bit about telling my sister and my parents that it was about him because I didn’t want it to sound callous in any way, just talking about the solitude of old age, especially with it being so specifically about him.
There is a sense of reverence, still, in the way you describe him decorating his place like a museum, like a preparation for dying, especially in the context of an album largely revolving around a fear of death.
I’m really glad that came across. Part of it was a response to the music, which was already mostly written. Quite more so than a lot of the other songs, there’s a sort of triumphant feel to the music. It’s very major and musically a bit more anthemic, so I think that’s why I even subconsciously thought this could be quite a, as you say, reverent song. It’s funny because I have notes on my phone with stuff I’ve written and stuff I’ve read, and I amalgamate and pick and choose lines when I’m writing for a song. The notes that I’d written about my about this topic, about my granddad, and then moving into my own fears of getting old and dying – it was much more somber and depressing and sad, but then moving into the song and then putting it to that music, it became more optimistic and hopeful, this idea of being defiant in the face of dying.
When did you first start coming to Greece, and how do you remember your grandfather’s place?
I started going when I was one year old, so I don’t remember the first time, but I have lots of memories of my grandfather’s place, right up until the last time I was there. That’s a big part of Athens for me.
I know your father grew up in the shadow of the Greek military dictatorship. When did he move to Scotland?
He went to Athens University and met my mom while he was studying. My mom is Greek, but she grew up in London, so like me, English is her first language, but her Greek is fluent. They stayed in Athens while my dad did his military service, and then moved to Scotland, where he was doing a PhD at Edinburgh University. They were planning to move back to Greece, which is why they spoke to me and my brother and sister in English, because they thought we’ll learn English here and then we’ll get the Greek when we move back. But they decided to stay. So, yeah, probably about 35 years ago.
Do you remember becoming curious about your Greek identity?
It was always quite an integral part of my growing up. My first words were in Greek, and they were quickly replaced when I started school. But my dad would always tell me and my siblings stories from mythology, as bedtime stories, basically. So I knew those growing up; it was very familiar territory. And we were sent to Greek school – once a week, we’d go to learn Greek at the Orthodox Church, which I hated. But looking back, I think that was such a good opportunity. We would learn songs as well and listen to music. My parents love Greek music, so it was always playing in the house, so I tried to incorporate that a little bit into the album, like, on ‘Dirty Bread’, the line about dirty blues is from a Soteria Bellou song
Right, the rebetiko [Greek outlaw blues] singer.
Yeah. ‘Μ’ αεροπλάνα και βαπόρια, I think it’s called. I always remember that line growing up because it’s something like – I’m going to butcher this – “Σ’ αυτόν τον τόπο όσοι αγαπούνε τρώνε βρώμικο ψωμί.”
In this land, all those who love eat dirty bread.
Exactly. My sister and I thought this was quite a funny line. And then later, when I got older, my dad explained, it’s about the communists. It’s a metaphor for being noble and brave and hardship going hand in hand. I’ve kind of revisited Greek music as I’ve gotten older, and I thought I would, in some way, bring that into the album.
I think there’s also a song inspired by the poet Cavafy?
Right, ‘Aphid’. Loosely – I was reading that poem again.
Do you know his poem ‘Voices’?
I don’t think so, no. Is it Φωνές?
That’s right. It comes to mind as you’re speaking about the music and mythology you were introduced to as a kid – the voices are the voices of the dead, or people who are like the dead to us, how they speak to us in dreams, and it sounds like the early poetry of our lives.
Oh, I can’t wait to read this poem. [laughs] That’s lovely. That’s a really nice analogy to the early voices. My dad loves poetry and Greek poetry, so he would often be translating it for me, bits I didn’t understand, and I started recording him – just secretly on my phone every so often if we’re having a nice conversation. I didn’t know what I would use it for, but it ended up being very useful for the album.
I want to ask about that recording, but I’m curious if there’s other early music or poetry that comes to mind when you think about your upbringing.
I’ve always been interested in poetry. I wouldn’t say I write it myself – a song is so different from a poem because there isn’t the same pressure on saying exactly what you want to say. With a poem, it’s all in the words, whereas the song has the assistance of melody and music. I don’t think it’s as pure as poetry. But I’ve always loved reading it – I wouldn’t say I’m broadly versed in poetry, just pockets of things that I pulled off the shelf or came across or studied at school. But for me, lyrics as well in songs have always been in many ways the most important part. I grew up listening to Bob Dylan and Van Morrison and songwriters where the lyrics are crucial and very poetic and beautiful.
The album’s title track features you and your dead reading On Philhellenes Street by Andreas Embirikos, which is very relevant as I speak to you from Athens, in the July heat that he writes about.
I was speaking about this with my dad recently. It’s so powerful if you’ve experienced that – walking in Athens, in the height of summer, is almost unbearable.
Deafening.
Deafening, yeah. And it’s literally the noise of the city as well. It’s such a strong memory in my mind. I just love that analogy of the intensity of heat equaling intensity and brilliance of light. You can think of life that way, I guess. When it’s very painful, it’s also very wonderful.
There’s this passage from it: “Things around me were clear, tangible and still visible, and yet, simultaneously, were nearly rendered incorporeal in the heat, all things – people and buildings – so much you’d say that even the sorrow of those mourning nearly utterly evaporated in the same light.” From an outside perspective, it almost sounds like a surreal – he was a surrealist poet, after all – and almost ludicrous thing to say, even offensive to those in mourning. But there’s both a cultural and personal resonance to it, somehow.
You’re so right, and that’s such a beautiful passage. For me, there’s almost a closeness to things when you’re in that kind of heat. Everything is in some ways amplified, but in some ways reduced, in terms of senses. It’s almost like meditation, because it focuses you so much, and it helps you to be absolutely present. I feel like that heat that he’s describing does the same things: it plants you so absolutely in the moment that makes you very present and aware. It’s so familiar, and I wonder if it makes sense to someone who hasn’t experienced that. It just feels particular to Athens or my relatively limited experience of Athens.
This might be a bit of a stretch, but do you feel like that metaphor also applies for heavy music, the idea that it’s necessary for the light or catharsis to exist?
I hadn’t thought of that, but that is a really nice connection to make. Something we’ve always discussed when writing is having that duality of heavy and chaotic and cacophonous and melodic and beautiful – either song to song, or actually even within songs, having those two sides of it. I think the reason we do that is because one is necessary to the other. You don’t get the release and the relief of the melodic part without the juxtaposition with the really heavy, almost stressful part. So in a way, there is that link with the idea of the heat and the light, the intensity and the relief and the beauty. As far in the heavy direction as we push things, I think we’ll always have this tendency to come back to melody and prettiness. It could never be all one or all the other.
In a similar way, there is also a juxtaposition of cultural and family history, like with ‘Dirty Bread’ and ‘Die Rich’.
Yeah, definitely. If ever I feel like the lyrics are leaning towards being obviously about something, I try and pull it back. I like for a song to linger on the threshold of abstract and clear, so some parts will be very close and immediate in terms of lyrics, and then others will be much harder to pin down. I think the whole thing for me is just a kind of synthesis of memories, nostalgia, real history, imagined history, national history, personal history – all these things coming together in different narratives. But none of them are absolutely about anything in particular.
The juxtaposition of ‘Memorial’ and ‘Plagiarism’ specifically feels ironic in a self-aware way, given that the former is drawing from Homer’s Iliad and the latter is about a lyricist who’s afraid of running out of reference points. Was it intentional?
It was kind of a very happy accident that those two are next to each other. I hadn’t even thought of that, actually. A lot of the lyrics – a lot of the lyrics are, let’s say, borrowed. That’s a generous word to use. But in ‘Plagiarism’ specifically, I had the chorus before I had the verses, and the chorus – the lines are directly taken from a Seferis poem. [laughs] I was just putting things together, and I was like, “I don’t really know what this song should be.” And then I just thought, “Well, maybe it can just be about the act of stealing.”
Borrowing.
[laughs] Borrowing, yeah.
Is it always the case that the music comes first?
Yeah, I actually think I’ve never shown the band the lyrics first. They might exist in my notes in a form that is quite similar to how they end up being in the song, but it almost always starts with the music in some form or another. But then, quite often the music will change completely, and my part will stay the same, so they do influence each other in that way. That’s one of the great things about writing songs, the fact that you end up with something you never could have really imagined when you started.
Do you sometimes feel that pressure to put words to music? Is it becoming easier over time, or are there periods where it feels more like a struggle?
It’s like with anything creative. There are days when it just comes easily, and you have a lot of belief in everything you’re doing that day. It just makes you loosen. It makes you try things and be a bit more daring. And then there are other days when the imposter syndrome kicks in and everything sounds contrived and stupid and just shit in your head. [laughs] And that’s the hardest thing, especially when the music is going well, and I think I’m letting us all down because I just can’t come up with anything good.
Do you feel like your communication as a band has developed over time in a way that is conducive to that process?
It’s definitely changed and improved over the years. Especially when we first started, I felt very shy and self-conscious about lyrics and the other guys hearing them for the first time in whatever state they were in. Just because we’ve known each other so long and we’ve written together so intensely for such a long time, there’s a lot of trust there, not just with the lyrics, but with the instrumentation as well. I think you have to have a lot of trust in each other because you’re always putting yourself in quite a vulnerable position when you’re writing, whether it’s music or lyrics, because it’s an ongoing process. It’s not like you’re showing the finished product. You’re showing each other what you’ve got at every step of the way, and sometimes it’s really bad. But we very much feel free to make mistakes and try things out in front of each other. And with singing as well – sometimes I’m very aware, when I’m standing in the little vocal booth that we built in our flat that we lived in together, that they can’t hear the music. Only I can hear it, and I’m screaming my head off, screaming these weird, quite often strange lyrics that they haven’t heard yet. I think you do feel really vulnerable in those moments, but there’s this level of comfort.
With a lot of bands that form at a young age, it’s their love of music that brought them together. Obviously, if you meet when you’re five, you’re not going to discuss Bob Dylan or whatever, so I’m curious if the bond you share with Ross specifically outside of music helps you connect on some of the deeper themes in it.
Yeah. Because this album in many ways is about more personal themes, it’s nice that Ross has experienced that part of my life. He’s come to Greece with me, he knows my parents. He’s heard me struggling away in Greek on the phone with my grandparents. Generally with lyrics, we liked the same things growing up – we were both obsessed with Bob Dylan when we were 15, so that came later. I know that all the guys really like my lyrics, which I think just helps you with that kind of comfort and being able to try things. There’s that belief in you, and we all have it with each other.
Is there anything in particular you find daunting about writing the next album, given how personal this one feels?
I have thought about that, but I think with this one, it happened quite organically, and I didn’t have a plan for it thematically. I think you just have to trust that if you sit down and start writing, the thing will develop into whatever it’s going to be, and I don’t really mind what it is. I don’t mind if it’s less of a cohesive thing with a central theme. If it’s just a collection of songs that are about lots of different things, that’s fine. It never turns out the way you plan it, and it inevitably changes. And it should, I think, because you’re discovering things and working things out.
Even with this album, I can imagine these songs existing in your mind without being tied to Greekness – that’s just the lens through which you explore those hefty emotions, and it became a throughline.
I don’t think the album needs or should be interpreted as being about Greece or learning the language or anything to do with that. I liked the idea of learning Greek meaning exploring the past, exploring memories and nostalgia and fragments of memory and identity. For me, it’s not so much about the language particularly, but coming back to the past and the building blocks of yourself. That really was a really nice way of putting it – the early poetry.
This interview has been edited and condensed for clarity and length.
