Home Blog Page 42

YFN Jewelry Expands Design Freedom: From Sketch to Custom Gold in Just 10 Days

Hong Kong, August 2025 – YFN Jewelry, a global leader in affordable fine jewelry, is pushing the boundaries of personalization once again. The brand now enables customers to transform a simple sketch or idea into a finished custom gold jewelry piece in just 10 days—and receive the completed item worldwide within 15 days.

Faster Customization, Without Compromise

In an industry where custom fine jewelry often takes weeks or even months, YFN has streamlined its design and production process. From concept to creation, customers can bring their vision to life with a speed previously unheard of in luxury jewelry. This efficiency is powered by YFN’s in-house design team, advanced manufacturing technology, and direct-to-consumer model.

“Personalized jewelry should not require endless waiting,” said a YFN spokesperson. “We believe creativity should be celebrated instantly. By delivering finished custom gold pieces in 10 days, we’re offering customers true freedom of design—without long delays or inflated prices.”

From Idea to Heirloom

YFN Jewelry’s custom process begins with customer input: a hand-drawn sketch, a reference photo, or even a written idea. YFN’s design team translates the concept into a 3D model within 48 hours. After approval, master jewelers craft the piece in solid 14K or 18K gold, with optional gemstones, engravings, or personal touches.

The result is a bespoke jewelry item that feels personal, meaningful, and luxurious—delivered within two weeks from the day of order.

Expanding Access to Affordable Luxury

This breakthrough in turnaround time reflects YFN’s mission to make luxury customization more accessible to global shoppers. By controlling its own factory and supply chain, the brand ensures fair pricing, ethical sourcing, and uncompromising craftsmanship.

Whether it’s a custom engagement ring, a personalized pendant, or a birthstone necklace, YFN empowers customers to design jewelry that reflects their story—without the high costs or long timelines of traditional luxury houses.

About YFN Jewelry

YFN Jewelry is a direct-to-consumer fine jewelry brand offering over 10,000 products and more than 500 themed collections. Renowned for its affordable solid gold jewelry, exquisite moss agate ring designs, birthstone pieces, and custom design services, YFN has served over 1.3 million customers worldwide. Every piece is handcrafted with precision, ethical materials, and a deep commitment to personalization.

Purchase address: https://www.yfn.com/sterling-silver-with-yellow-gold-plated-hexagon-cut-moss-agate-engagement-ring-p22918337

This stunning 14K Gold Hexagon Cut Moss Agate Engagement Ring from YFN stands out with its unique design and exquisite craftsmanship. The main stone features a hexagon-cut natural moss agate, showcasing captivating green patterns reminiscent of a lush forest, symbolizing everlasting love. Surrounded by green and purple gemstones and set in 14K gold, it adds a touch of luxury. The ring’s multi-layer design, accented with delicate diamond embellishments, blends modern and vintage elegance seamlessly. As one of the fastest custom jewelry brands globally, YFN ensures this ring, priced at $729.99, not only boasts exceptional quality but also delivers personalized orders quickly, making it perfect for engagements and other special occasions.

Media Details

Contact person name: Donald_Chan

Contact email: affiliate@yfn.com

City&Country: Hong Kong, China

The Tension of the Field: Curatorial Narrative and Artistic Autonomy in A Theatre of Cruelty

The exhibition A Theatre of Cruelty was initiated by Yurui Shi and successfully opened on 9 August 2025 at SAFEHOUSE 1 in London. The curatorial work was led by Jiabin Xu, with Yi Lai and Ziqi Li jointly contributing to the preparation. This remarkable exhibition officially closed on 13 August 2025. Bringing together 28 artists from China, Germany, and Chile, the exhibition explored new spatial narratives beyond the confines of the white cube, through installations, moving images, photography, painting, and experimental media practices.

A Theatre of Cruelty offers a subtle contemporary interpretation of Antonin Artaud’s Theatre of Cruelty. By transforming a Victorian townhouse into a unified sensory field, the exhibition constructs a coherently immersive environment: peeled wallpaper becomes an actor who narrates time, humidity and light changes orchestrate the audience’s physical and psychological responses. The exhibition powerfully demonstrates the potential of curating itself to perform as a creative medium that generates unified emotional and cognitive experiences. Yet this huge curatorial success provokes a dialogue about how individual artworks position themselves within such a field of totality—which constructs its most inspirational theoretical contribution.

Photo credit: Tree

The handling of spatial narrative power is particularly sophisticated. Yihan Pan’s Untitled (2025)—a fictive window made of a white frame and a printed landscape—was embedded into the timber beams of the house. This simulacra window enters into a tense dialogue with its opposite, a real window and the scenery beyond. Through precise staging, the conceptual installation transcends mere visual metaphor, until interfering and activating the construction’s historical fabric. Incidental but ingenious, the installation discloses the polysemy of the ‘window’—a conduit of vision, and at the same time a parallax of illusion, when concept meets reality, the ideology of ‘window’ meets the entity of window, the contemporary art encounters historical building. It thus forms a symbiotic relationship between the artwork and its field, becoming a key curatorial narrative node. As Miwon Kwon raised the discussion in One Place After Another (2002), site-specificity has expanded beyond physical adaptation to encompass discursive and contextual dimensions—an idea embodied in the setting of the artwork Untitled.

Photo credit: Tree

This curatorial–artistic symbiosis finds another expression in Lei Zhao’s The Crowd (2025), which is projected in a cramped stairwell, compelling viewers to crouch and peer inwards. The film, focusing on the private lives of public figures, reflects the collective pathological voyeuristic impulse characteristic described by Gustave Le Bon in his work The Crowd A Study of the Popular Mind (1985) during the internet era. Here, curatorial intervention is incisive: the enforced crouched posture and auditory interference from adjacent rooms reframe the contextual reception of the work. Far from diminishing it, the strategy adds a brand new reflexive critique of voyeurism itself. Themes of voyeurism are concretised and externalised through discomfort and surveillance introduced by the curatorial practice, prompting wider reflection on privacy, exposure, and the ethics of spectatorship.

Photo credit: Depei Wang

The curatorial narrative thus generates a palpable and productive tension. This deliberate structuring of the environment constitutes a bold authorial strategy. Such approaches may challenge conventional habits of art appreciation, but sharpen the exhibition’s conceptual rigour and coherence, extending Artaud’s principle of ‘cruelty’ into each curatorial decision.

The significance of A Theatre of Cruelty lies not only in its highly immersive environment but also in its demonstration of the evolution of site-specificity in curatorial practice—from a paradigm of physical adaptation to one of conceptual symbiosis. Here, curators and artists collaborate rather than confront, jointly exploring the potential of art to generate new experiences beyond the white cube. The exhibition poses an extremely generative question: when artworks are woven into a greater narrative structure, is their autonomy diminished or redefined? Instead of offering a simple answer, A Theatre of Cruelty invites audiences to dwell on its complexity. Its achievement lies in showing that curating, as a rigorous intellectual practice, can co-construct with artistic creation a discursive field that is richer, more open, and more dialectical.

Photo credit: Han Wang

Featured Artists:

Thomas Behling, Chuanduan Chen, Xiaoran Fan, Longfei Jiang, Caijing Kuang, Mengzhu Li, José Cárdenas Lorca, Yihan Pan, Lei Pu & Bibi Afshar-Shirazi, Xingyi Qu, Ruonan Shen, Guangyi Shen, Zhong Sun, Zhuofan Tao, Hao Wang, Alexis Wong, Xuya Wu, Jiyun Xia & Jing Xu, Tree Xu, Wei Yang, Odile Yu, Xiaoping Yu, Iris Jingyi Zeng, Hui Zhang, Lei Zhao, Mingzhuo Zheng, Minyu Zhu, Weihang Zhu

Producer:

Yurui Shi

Curator:

Jiabin Xu

Executive Curator:

Yi Lai

Visual Director:

Ziqi Li

Special Thanks:

Lulu, Yang Wu, Jackie Liu, Yaojia Dong, L.S, Monica, Tanya

12 New Songs Out Today to Listen To: Spoon, Geese, and More

There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Tuesday, August 26, 2025.


Spoon – ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’

Spoon have returned with two swaggering new songs, ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’, which they recorded with producer Justin Meldal-Johnsen while working on a new album. “Two new tunes with distinct personalities that were summoned into the world the past few months in Austin TX and Providence RI,” Britt Daniel commented. “It’s a big day all around: tonight we kick off our first tour in a while in Santa Ana, and tomorrow we start up our run with the Pixies — let’s face it, one of theee great bands of all TIMES. A band that some may know has long been near and dear to me. It’s a real pleasure and we’re real happy to be getting back into gig world for a sec. See you down front.”

Geese – ‘100 Horses’

“There is only dance music in times of war,” Cameron Winter proclaims on Geese’s slinky, gloriously apocalyptic new single ‘100 Horses’, which is taken from their forthcoming album Getting Killed. It arrives on the heels of lead single ‘Taxes’.

Mavis Staples – ‘Beautiful Strangers’

Mavis Staples has a new covers on the album on the way called Sad and Beautiful World. Given that it was produced by Brad Cook, it’s not too surprising that its list of contributors includes MJ Lenderman, Waxahatchee’s Katie Crutchfield, and Bon Iver’s Justin Vernon, among others, but it’s still pretty sick. The first single is a wonderful rendition of Kevin Morby’s ‘Beautiful Strangers’. “It isn’t easy to put into words what it feels like having one of the best, most important vocalists and cultural figures of both the 20th and 21st century sing one of my songs,” Morby commented. “But hearing Mavis sing ‘Beautiful Strangers’ is hands down the greatest moment and highest honor of my career. Far beyond any kind of accolade or acclaim — having one of my biggest heroes sing something I wrote is the most validating and flattering thing that could ever happen to me as a songwriter and person. Thank you, Mavis. Mavis also wields that extremely rare power to take a song somebody else wrote and make it entirely her own. As the person who penned ‘Beautiful Strangers’, I feel I have every right to say: her version is better.”

Amanda Shires – ‘Piece of Mind’

Amanda Shires has shared ‘Piece of Mind’, a rowdy country-rocker from her new album Nobody’s Girl. “This one came when I was finally done being polite about pain,” she commented. “I wrote this song because I never got closure. ‘Piece of Mind’ became the place I said everything I didn’t get to say. Writing it gave me an ending. Not tidy. Not bitter. Just mine.”

Austra – ‘Math Equation’

Austra has announced her first album since 2020’s HiRUDiN. Chin Up Buttercup was inspired by the Eurodance sound of Madonna’s Ray of Light, which you can hear shining through its first single, ‘Math Equation’. The record is about “the alienating feeling of being heartbroken in a world that’s awkward and inconvenienced by your pain,” according to Katie Stelmanis.

Jordana – ‘Still Do’

Jordana has announced a new EP, Jordanaland, which she recorded with her friends Charlie Kilgore & Julian Kaufman of Michelle. It’s led by the instantly catchy yet cutting new single ‘Still Do’. “Jordanaland is definitely an escape from Americaland,” the artist explained. “It’s an oasis from the chaos, where tampons are free, everything is easy, and Luther Vandross is vice president. It looks a lot like LA in the videos… for some reason. Weird. But it’s wherever you want it to be, just close your eyes. Pop music was definitely the goal — self-assured, confident pop. I think the evolution came from becoming more comfortable with my voice, a more established sound, and also looking up to artists who let it all out in that way.”

Joan Shelley – ‘The Orchard’

Joan Shelley has unveiled ‘The Orchard’, another heart-rending track off her forthcoming album Real Warmth, following ‘Everybody’. The track features Doug Paisley on guitar, album producer Ben Whiteley on bass and mandolin, and his father Ken Whiteley on organ.

Golden Apples – ‘Freeeee’

Golden Apples have previewed their forthcoming album Shooting Star with a new track called ‘Freeeee’, which is knotty yet enveloping. “’Freeeee’ to me is a loose exploration of what it feels like to get lost and found within songwriting,” the group’s Russell Edling explained. “Sometimes it feels like swimming through space, just trying to maneuver through confusion and obstacles in order to break free and take off. Sometimes the process can feel oppressive and suffocating, only to turn on a dime and seem weightless and easy. The lyrics also reference a moment when I was taking a walk and listening to Deerhoof’s album Milk Man again after many years. At the time I was sort of frustrated and lost in my own creative tangles and that album got me back on the path again.”

S. Carey – ‘Watercress’

S. Care has announced a new EP, Watercress, sharing the ethereal title track. Out October 3, the EP was recorded with Zach Hanson and Brian Joseph and features guest vocals from Gia Margaret and Hannah Hebl. “The music video for the title track, ‘Watercress’ gave me chills upon first viewing,” the singer-songwriter explained. “Shot in Northwest Wisconsin, the place I call home, the images provide micro and macro views of the woods and waters that are so magical when you get up close and investigate. Just like a forest cut or burned, we all have the power to re-grow with the right care.”

runo plum – ‘Sickness’

Having recently signed to Winspear, runo plum has announced her debut album, patching, which will be released on November 14. Lead single ‘Sickness’ is achingly beautiful. “This song could be taken in many ways, literally or metaphorically,” plum reflected. “It’s about falling ill of many kinds, the common cold, perhaps lovesickness, but whatever it may be: you heal through it. This was the first song we worked on, and it came together really seamlessly.”

Wilby – ‘Care’

Wilby has released ‘Care’, a poignant new single from her debut album Center of Affection. “We’ve been playing it live for two years now,” Maria Crawford shared. “The first handful of times, I couldn’t make it through. It’s about the people I’ve hurt, and the pain of knowing that—even while giving them so much of myself. That tension is something I think we all feel. Most of us don’t mean to hurt each other—we’re just trying, imperfectly, to love.”

Taylor Swift and Travis Kelce Announce Engagement

Taylor Swift and Travis Kelce, one of the most famous couples on the planet, have announced that they’re engaged. Swift, who announced her new album The Life of a Showgirl on Kelce’s podcast earlier this month, has been dating the Kansas City Chiefs tight end since 2023. On Instagram, Swift posted a number of engagement photos, writing in the caption, “Your English teacher and your gym teacher are getting married.” Neither Swift nor Kelce has previously been engaged to be married.

 

View this post on Instagram

 

A post shared by Taylor Swift (@taylorswift)

Could a Community-Owned Casino Become a Global Tourist Magnet?

Gambling establishments have consistently attracted visitors from around the world, showcasing everything from the vibrant lights of Las Vegas to the elegance of Monte Carlo and the exhilarating atmosphere of Macau. As the gaming and travel landscapes continue to transform, the opportunities for more inclusive and innovative business models are expanding as well. One intriguing model is the community-owned gaming establishment — a bold idea that turns conventional ownership upside down and channels profits back to the local community.

But can this model truly grab the interest of international travellers? Can a community-driven casino truly compete with the most legendary resorts on the globe? At first glance, the concept might appear idealistic, yet compelling arguments indicate that it could indeed shape the future of tourism-driven growth.

What Is a Community-Owned Casino?

At its essence, a community-owned casino is a venue that is jointly owned and managed by the local residents. This type of ownership could manifest as a cooperative, a municipality-operated organisation, or a public trust, focusing on reinvesting revenue back into the local economy instead of funneling profits to corporate shareholders.

This innovative approach stands apart from conventional gaming establishments, as it focuses on reinvesting profits into community initiatives like healthcare, infrastructure, education, and even direct financial benefits for residents. In essence, it promotes growth fuelled by tourism while steering clear of the exploitative practices typically linked to commercial expansion.

Why tourists might flock to a community-owned casino

The allure of a community-owned gaming establishment extends well beyond the excitement of the gaming tables. In a time when adventurers are on the lookout for meaningful and ethical experiences, the concept of a gaming establishment that supports the local community feels wonderfully conscientious. Visitors may opt for this locale, understanding that their spending contributes to the local economy instead of vanishing into the hands of large corporations. To make the experience even more rewarding, players could enjoy tailored casino bonuses designed to keep the fun circulating within the community—benefits that further emphasize reinvestment into local initiatives rather than corporate profits.

Moreover, the narrative surrounding a community-operated resort holds significant promotional promise. A gaming establishment created and managed by the local community for the benefit of everyone in the town makes a compelling story for the brand. It’s the kind of experience that enthusiasts love to highlight, writers enjoy covering, and visitors are eager to immerse themselves in.

A community-driven gaming venue could offer a more personalised and locally tailored experience. The culinary offerings, ambiance, tunes, and entertainment all showcase the unique culture and personality of the area. Rather than just another generic Vegas clone, it offers a glimpse into the true essence of the location.

The appeal of sustainability is undeniable. When the community takes the reins, the possibilities for sustainable building practices, caring for the environment, and honouring local traditions really open up. Conscious travellers are more and more focused on choosing destinations that genuinely address important issues, and a gaming establishment that emphasises transparency and meaningful operations could be just what they seek.

Real-World Examples of Community-Owned Casinos

Although the ideal concept of a completely community-owned gaming establishment is still taking shape, there are numerous existing examples that function on comparable principles and provide motivation for what can be achieved.

Across the United States, tribal casinos have emerged as a standout example of gaming that is deeply rooted in community engagement and success. Locations such as Mohegan Sun and Foxwoods in Connecticut have transformed into major tourist hotspots, generating significant revenues that support healthcare, education, and social initiatives for the tribes that operate them. These destinations blend opulence, excitement, and cultural essence, attracting countless visitors and enhancing the communities that support them.

In Canada, Casino Regina in Saskatchewan shines as a notable highlight. Operated by a government-owned entity, this gaming establishment is located in a charming old train station and funnels its earnings straight into the local economy. It’s not only about fun — it plays a vital role in supporting public services and safeguarding local culture, transforming it into a responsible tourist hotspot.

Challenges to consider…

Absolutely, creating a thriving community-owned gaming establishment presents considerable hurdles. To kick things off, let’s talk about funding. Launching a gaming establishment is a costly venture that involves securing licenses, building infrastructure, training personnel, implementing technology, and managing continuous operations. In the absence of significant funding, communities should consider tapping into crowdfunding, seeking government grants, or finding ethical investors who are eager to back the initiative.

The intricacies of operations present yet another challenge. Operating a gaming establishment involves much more than just dealing cards and serving beverages. It requires adherence to rigorous gaming standards, financial clarity, robust security measures, and exceptional customer service and hospitality skills. Many communities lack this expertise internally and will need to collaborate with seasoned operators while retaining ownership and oversight.

How It Could Work: A Blueprint for Success

Even with the challenges ahead, the opportunity for triumph is tangible when a solid plan is executed. Communities can kick things off by teaming up with licensed experts who offer valuable industry insights, all while keeping the majority stake through a cooperative or public trust model. This blended strategy promotes effective operations while still prioritising community advantages.

Funding might be sourced from both internal and external avenues. Residents might consider investing in shares or bonds, while authorities could provide backing, and socially responsible investors may recognise the lasting benefits of a sustainable tourism approach. Promotion will be crucial, focusing on a narrative that resonates with the community, highlights cultural significance, and emphasises social influence as the core of the initiative.

To truly shine, the resort must wholeheartedly embrace its unique local character. The design, cuisine, events, and entertainment should all embody the spirit of the community that created it. Emphasising sustainable growth, open financial disclosures, and a well-defined reinvestment strategy can foster global confidence and draw in a fresh wave of travelers—those eager to contribute as much as they indulge.

Could this really compete with Las Vegas or Macau? 

When it comes to grandiosity and excitement, likely not — at least not right away; however, that isn’t exactly the aim. Modern adventurers seek experiences that go beyond the glitz and glamour of neon signs and endless food options. They seek out significance, narratives, and encounters that resonate authentically.

A community-owned gaming establishment might not dethrone the industry titans, but it has the potential to establish its own unique space. With the perfect idea, prime location, and strong community backing, it has the potential to transform into a beacon of how entertainment and leisure can progress into a more sustainable, inclusive, and thrilling experience.

Final Thoughts: Betting on the community

The idea of a community-owned casino transforming into a global tourist hotspot is certainly an intriguing concept worth exploring. Reimagining the future of gaming and tourism is no small feat, especially when we focus on the people involved rather than solely on profit margins.

With strategic planning, savvy collaborations, and a focused vision, this endeavour could provide an exciting blend of fun and purpose, a thrilling escape paired with meaningful connections. For communities aiming to shape their future on their own terms, this could be a risk that pays off.

Mavis Staples Announces New Album ‘Sad and Beautiful World’ Featuring Waxahatchee, MJ Lenderman, Justin Vernon, and More

Mavis Staples has announced a new solo album, Sad and Beautiful World, arriving on November 7. Produced by Brad Cook, it’s a covers album that finds the multigenerational legend taking on songs by Leonard Cohen, Curtis Mayfield, Tom Waits, Mahalia Jackson, Sparklehorse, Gillian Welch, and Eddie Hinton. Collaborators on the LP include MJ Lenderman, Waxahatchee’s Katie Crutchfield, Bon Iver’s Justin Vernon, Bonnie Raitt, Jeff Tweedy, Buddy Guy, Derek Trucks, Iron and Wine’s Sam Beam, the Drive-By Truckers’ Patterson Hood, the Indigo Girls’ Amy Ray, Anjimile, and Kara Jackson.

Today, Staples has shared a gorgeously moving rendition of Kevin Morby’s ‘Beautiful Strangers’, which was originally released in 2016 as a tribute to the victims of the Orlando Pulse shooting. The cover features electric guitars from MJ Lenderman and Staples’ bandleader Rick Holmstrom, Brad Cook on vibraphone, his brother Phil on piano, and Nathaniel Rateliff and Tré Burt on backup vocals.

“It isn’t easy to put into words what it feels like having one of the best, most important vocalists and cultural figures of both the 20th and 21st century sing one of my songs,” Morby shared. “But hearing Mavis sing ‘Beautiful Strangers’ is hands down the greatest moment and highest honor of my career. Far beyond any kind of accolade or acclaim — having one of my biggest heroes sing something I wrote is the most validating and flattering thing that could ever happen to me as a songwriter and person. Thank you, Mavis. Mavis also wields that extremely rare power to take a song somebody else wrote and make it entirely her own. As the person who penned ‘Beautiful Strangers’, I feel I have every right to say: her version is better.”

Back in June, Staples shared her version of Frank Ocean’s ‘Godspeed’, which appears on the new LP.

Sad and Beautiful World Cover Artwork:

MavisStaples_SABW art

Sad and Beautiful World Tracklist:

1. Chicago
2. Beautiful Strangers
3. Sad And Beautiful World
4. Human Mind
5. Hard Times
6. Godspeed
7. We Got To Have Peace
8. Anthem
9. Satisfied Mind
10. Everybody Needs Love

Austra Announces New Album ‘Chin Up Buttercup’, Shares New Song

Katie Stelmanis, aka Austra, has announced her first album since 2020’s HiRUDiN. It’s called Chin Up Buttercup, and it’s set to arrive on November 14 via Domino. Stelmanis co-produced the record with Kieran Adams, drawing inspiration from the Eurodance sound of Madonna’s Ray of Light, and you can hear that reverberating through the first single ‘Math Equation’. Check it out and find the album cover and tracklist below.

According to Stelmanis, Chin Up Buttercup is about “the alienating feeling of being heartbroken in a world that’s awkward and inconvenienced by your pain.” She explained, “I was completely blindsided … the person I loved woke up one day, told me she wasn’t happy, and I basically never saw her again.”

Chin Up Buttercup Cover Artwork:

Austra Cover

Chin Up Buttercup Tracklist:

1. Amnesia
2. Math Equation
3. Siren Song
4. Chin Up Buttercup
5. Fallen Cloud
6. Blindsided
7. Think Twice
8. Look Me in the Eye
9. The Hopefulness of Dawn
10. Good Riddance

Radiohead’s ‘Let Down’ Becomes Their Fourth Ever Hot 100 Hit

28 years after its release, Radiohead’s ‘Let Down’ has entered the Billboard Hot 100 at No. 91. The OK Computer track marks the band’s fourth entry on the Hot 100 after ‘Creep’ in 1993, ‘High and Dry’ in 1996, and ‘Nude’ in 2008.

Though the song was included in the season one finale of The Bear three years ago, it more recently has experienced a viral resurgence on TikTok thanks to its crushing emotional weight.

Since forming a new business entity back in March, Radiohead surprise-released a live album, Hail to the Thief (Live Recordings 2003-2009), earlier this month. Their last album remains 2016’s A Moon Shaped Pool.

Geese Release New Single ‘100 Horses’

On the fantastic lead single from Geese’s upcoming album, Getting Killed, Cameron Winter’s protagonist gloriously proclaimed that if you want him to pay his taxes, you’re gonna have to nail him down. On their latest track, ‘100 Horses’, he proclaims, “There is only dance music in times of war.” It’s apocalyptic dance music in the vein of Water From Your Eyes’ recently-unveiled It’s a Beautiful Place, but Geese’s delivery has its own absurdist bent, not to mention Winter’s beguiling theatrics. Listen to ‘100 Horses’ below, where I have also chosen to embed a video of horses – not quite so many – hanging out with actual geese. You’re welcome.

Getting Killed, the follow-up to 2023’s 3D Country, is out September 26 via Partisan. Check out our Artist Spotlight interview with Geese.

Spoon Return With New Songs ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’

Spoon are back. ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’, which were recorded this summer in Austin with producer Justin Meldal-Johnsen, mark the band’s first new music since 2022’s Lucifer on the Sofa. The A-side is groovy and full of swagger, while the latter is darker and grittier. Take a listen below.

“We started work on an album this year and the way that normally goes, we write, we rehearse, we record, we mix, we get it all wrapped up tightly and then start putting songs out into the world,” Britt Daniel explained in a press release. “But as we finished up the first two songs for the LP, it crossed somebody’s mind and eventually all of ours that these two really should come out now. Let’s get them out there. And so here they are today, ‘Chateau Blues’ and ‘Guess I’m Fallin In Love’. Two new tunes with distinct personalities that were summoned into the world the past few months in Austin TX and Providence RI. It’s a big day all around: tonight we kick off our first tour in a while in Santa Ana, and tomorrow we start up our run with the Pixies — let’s face it, one of theee great bands of all TIMES. A band that some may know has long been near and dear to me. It’s a real pleasure and we’re real happy to be getting back into gig world for a sec. See you down front.”