Hit show Bridgerton is back with season 4, and the new episodes took Netflix by storm. The Regency-era romantic drama is the most-watched show on the platform, with 39.7 million views over the last week.
Not only that, but season 1 and season 3 are also back in the global charts, a testament to the show’s undeniable popularity. That means we’re definitely getting more episodes, right? Here’s what we know so far.
Bridgerton Season 5 Release Date
Season 4 of Bridgerton comes out in two parts. The first four episodes are currently streaming, with the final ones scheduled to drop later in February. This season is inspired by book 3 in Julia Quinn’s Bridgerton series, titled An Offer From a Gentleman.
As for what’s next, fans will be happy to know that Netflix has already renewed the series for two more seasons. In other words, Bridgerton season 5 could be here before you know it – perhaps in early 2027?
Bridgerton Cast
Luke Thompson as Benedict Bridgerton
Yerin Ha as Sophie Baek
Claudia Jessie as Eloise Bridgerton
Katie Leung as Lady Araminta Gun
Ruth Gemmell as Lady Violet Bridgerton
Adjoa Andoh as Lady Agatha Danbury
Julie Andrews as the voice of Lady Whistledown
Jonathan Bailey as Lord Anthony Bridgerton
What Could Happen in Bridgerton Season 5?
Set in early-1800s London, Bridgerton follows the wealthy Bridgerton family as they navigate the marriage market. Each season centres on a different sibling’s love story, blending swoony romance with court intrigue.
Season 4 shines the spotlight on Benedict, the second Bridgerton son. His romance follows a Cinderella-inspired arc, complete with a hefty dose of class divide to complicate matters.
Benedict meets a mysterious “Lady in Silver” (Sophie) at a masquerade ball and is instantly captivated. While they share a deep connection, she disappears before revealing her identity. Obsessed with finding her, he searches high society, unaware that she’s not part of it.
As for Bridgerton season 5, fans are speculating that it will revolve around Eloise, the second eldest daughter. Back in January, showrunner Jess Brownell confirmed that seasons 5 and 6 are Eloise and Francesca’s love stories, but didn’t give away the order.
For now, we still have season 4 part 2 to look forward to. Will Benedict and Sophie get their happy ending? Probably, but it will still be fun to watch it happen when the show returns on February 26.
Cher turned 79 and her boyfriend Alexander Edwards is 39. The pair have been together since 2022, and she has made no effort to hide the 40-year difference between them. When asked about it on CBS Mornings, she offered a simple response: nobody knows what goes on between them, but they have a blast. That answer tells you more about age-gap relationships than any survey could. The people inside them rarely share the anxieties that outsiders project onto them.
Public fascination with celebrity couples who have large age differences has existed for decades. Humphrey Bogart and Lauren Bacall, Celine Dion and René Angélil, Woody Allen and Soon-Yi Previn. Each of these pairings drew attention and criticism in their time. The question of taboo, then, is less about the relationships themselves and more about who is watching and what they believe they see.
The Numbers Behind the Noise
A 2025 Ipsos poll measured American attitudes toward age-gap dating. The findings showed that 39% of Americans have dated someone with a 10-year or greater age difference. A large majority said it was socially acceptable for both men and women to date someone 10 or more years younger. These figures suggest that age gaps are more common and accepted than public commentary might indicate.
Still, acceptance comes with qualifications. The same poll found that nearly a quarter of Americans between 18 and 34 said they feared what people might think if they entered such a relationship. Younger adults, who might seem more open to unconventional arrangements, reported higher levels of concern about perception. The gap between stated acceptance and personal anxiety points to something unresolved.
When Public Perception Pins a Label on Partners
Age-gap couples in the spotlight often face assumptions about their motives. A 2025 Ipsos poll found that 24% of Americans aged 18-34 worry about judgment if they date someone with a large age difference. Critics tend to reduce these pairings to stereotypes, and the scrutiny makes them seem like a sugar daddy or sugar baby rather than two people who chose each other.
Celebrities like Cher, who is 40 years older than Alexander Edwards, push back against this framing. She told CBS Mornings that outsiders cannot know what happens between them, adding that they have a blast together. Sarah Paulson, with a 32-year gap from Holland Taylor, called her relationship positive and unconventional in a May 2025 interview with El País.
Hollywood Couples Defying Convention
Paulson and Holland Taylor began dating around 2015. The actress has spoken openly about how their age difference attracts attention. In May 2025, she told El País that many find the gap disconcerting. She added that she likes to represent something positive and unconventional. Her willingness to discuss the relationship publicly has made them one of the most visible age-gap couples in entertainment.
Other pairings receive similar scrutiny but handle it differently. Some avoid interviews entirely. Others offer brief acknowledgments and move on. The strategy depends on the couple, but the presence of age-gap relationships in celebrity culture has remained steady for years.
When Women Are Older
The traditional pattern placed older men with younger women. That configuration drew criticism but also acceptance rooted in long-standing gender norms. When the dynamic reverses, reactions differ.
Films released in recent years have explored relationships where women are the older partner. “The Idea of You,” “Babygirl,” and “Lonely Planet” all feature this premise. Author Robinne Lee, whose novel inspired one of these films, said women want to see characters reclaiming their sexuality. Director Halina Reijn stated that age gaps switching should be completely normalized.
These films signal a shift in storytelling, but they also respond to existing demand. Audiences have shown interest in narratives that treat older women as romantic leads rather than supporting figures. The box office results and streaming numbers suggest the interest is genuine.
What Taboo Actually Means
Taboo implies social prohibition backed by consequence. By that definition, age-gap relationships among celebrities do not qualify. No one faces exile for dating someone decades older or younger. Careers continue. Public appearances proceed. The relationships exist openly.
What remains is discomfort, and discomfort is not the same as taboo. People may gossip. Tabloids may speculate. Social media users may post opinions. But none of this amounts to prohibition. The couples themselves often live without apparent penalty.
Judgment Without Enforcement
Public figures who enter age-gap relationships face commentary but rarely suffer professional harm. Cher has maintained her career and public profile throughout her relationship with Edwards. Paulson continues to receive awards and leading roles. The gap between what people say and what actually happens to these couples suggests the taboo is rhetorical rather than functional.
Younger people may fear judgment, as the Ipsos poll indicated. But that fear exists alongside widespread acceptance. The contradiction suggests that social pressure operates unevenly. What feels dangerous in theory often proves tolerable in practice.
Private Lives, Public Opinions
Celebrities who discuss their relationships do so on their own terms. Cher’s comment about having a blast offered no apology and no defense. Paulson’s description of her relationship as unconventional accepted the label without treating it as negative. Both responses treated outside opinion as irrelevant to the reality of their partnerships.
This approach limits the power of criticism. If the people inside the relationship refuse to treat it as shameful, external shame loses force. The couples set the terms, and observers can only react.
Where Things Actually Are
Age-gap relationships among celebrities persist. Public interest in them persists. Neither shows signs of ending. The question of taboo depends on definition. If taboo means forbidden, the answer is no. If it means subject to comment and speculation, the answer is obviously yes.
The difference matters because it changes what the discussion is actually about. We are not debating prohibition. We are debating taste, preference, and the limits of social curiosity. Those are different conversations, and they lead to different conclusions.
Nowhere is the blurring of Dan Snaith’s alter egos more apparent than in a live setting. Or, more specifically in my experience, the setting of Barcelona’s Primavera Sound: When the London-based producer was beginning to roll out his new Daphni album, Butterfly, last June, he played the opening festivities with a set dominated by the club-oriented material on Caribou’s latest album, Honey. A couple of years earlier, I’d caught his late-night set as Daphni when the then-dance-focused project was gaining steam off his 2022 album Cherry. With zero context around Snaith’s rich musical history, it could seem like Daphni had simply received an upgrade. On the new LP, Snaith acknowledges the convergence by “featuring” Caribou on highlight ‘Waiting So Long’, but more crucially seeks to stretch the perceived boundaries – and functional pulse – of Daphni, all with the live show in mind. “I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad,” Snaith said in press materials. With Butterfly‘s dazzling, unfettered flow, he keeps the listener guessing, too.
1. Sad Piano House
No less satisfying for how self-explanatory it is, ‘Sad Piano House’ is also sneakily self-referential, updating the track ‘Cloudy’ from Daphni’s previous album. Like the track’s title, its sense of melancholy seems to have stuck the way we rarely intend it to; unspoken, or rather barely vocalized, unable to drown out a groove that also clearly isn’t going away anytime soon. For a moment, it almost steps out into another room, but the juxtaposing energies this one contains are too irresistible.
2. Clap Your Hands
The contrast between ‘Clap Your Hands’ and the opener is starker than that song’s internal contradictions; though similarly on-the-nose (you hope the handclaps are left to the audience in a live context), it seems to skip to the peak of a DJ set, where everybody’s bound to succumb to its hard bounce and wobbly bass. The only element complicating it is a searing noise that you wish turned out a bit more abrasive.
3. Hang
‘Hang’ is all tease, yet Snaith manages to stretch it to standard pop-song length, resting on bits of horn-infused release. Then it tightens and squiggles, rising to the foreground before being abruptly cut off.
4. Lucky
The track slinks down to the ground, keeping a mischievous grin on its face even as it turns the pulse ambient. By contrast, the bass stomping over it at random intervals sounds gargantuan.
5. Waiting So Long
The joyous, celebratory potential of dance music as affirmed by the Daphni project bears fruit on ‘Waiting So Long’, which is notably billed as a Caribou collaboration on account of its vocals. Four tracks is not a long time to wait for the album’s more anthemic side to emerge, but perhaps the confluence of Snaith’s aliases feels more long-awaited. Still, ‘Waiting So Long’ remains more about the waiting than the release, holding itself back just enough.
6. Napoleon’s Rock
Though transitory, ‘Napoleon’s Rock’ coasts on an organic arrangement that’s intriguing for the less-than-a-minute it lasts. What if he made more anthems out of these subtly complex strains of ideas?
7. Good Night Baby
Snaith is quick to offer an answer, delivering a gorgeously liminal and emotionally gooey track that apparently originated as mostly the final drums-heavy section. It’s ever-evolving in a way not every track on Butterfly is; a mid-album cut that would obviously go off as a set closer.
8. Talk to Me
Released as a pair with ‘Good Night Baby’, ‘Talk to Me’ is pitched as “polar opposite,” though not in the way that you might expect. It sounds like the kind of song poised for euphoric release, but crouches down right when you think it’s about to deliver. Rather than fleshing things out, the song became an exercise in restraint, which might underwhelm on a cursory listen – enough to tune it out and start talking – but can hit hard with the right headphones or, as Snaith puts it, “on a big soundsystem.”
9. Two Maps
Playful to the point of being cartoonish, ‘Two Maps’ also has one of the album’s most engaging progressions, as if more allergic to repetition than reliant on it. Though almost traditionalist rave music, it builds to a conclusion that’s infectiously off-kilter.
10. Josephine
Did you know that Dan Snaith, as Caribou, has collaborated with Fred.. again? I didn’t, but ‘Josephine’ had me wondering, and my suspicions were confirmed. If that idea is not particularly exciting to you, Snaith surprises the listener by twisting the track in a colourful direction after the first minute, as if hungry for a greater sense of abandon.
11. Miles Smiles
Neither an interlude nor a full-fledged song, the track glides on that liminal space Snaith is always good at thickening.
12. Goldie
As the album digs into more industrial sounds, the puckish vocal sample and metallic percussion prove that it’s a more audacious if dishevelled record than its predecessor, though at this point you’re eager for it to come alive again.
13. Caterpillar
And so it does, with a track that leaves no frequency uncoloured. Squibling, twinkling, shuffling – ‘Caterpillar’ has more than enough to keep you moving and wondering: What could the butterfly sound like?
14. Shifty
The track ratchets up the tempo, but not without continually twitching and threatening to derail it. I mean, it is called ‘Shifty’.
15. Invention
Like ‘Napoleon’s Rock’, ‘Invention’ creates a curious live-band feel without fully developing it. It’s almost off-putting, the way the harpsichord and jaw harp seem to vie for space in what’s already a pretty skeletal environment.
16. Eleven
Snaith finishes the album off with one of his most classically fleshed-out house tracks, infusing it with a sense of shimmering resolve. The synth melody is perfectly moody but unremarkable compared to the vocal samples that sneakily animate the track. It was accompanied by a music video showing an innertube being dragged on a lake, and to use the metaphor of the producer steering a boat, Snaith’s intention is never just to throw you off. But you can imagine him looking back and seeing a butterfly fluttering across the ocean’s surface, delighted at the thought of mimicking it.
A spare flat, a second home, or an underused guest suite can sit dormant for months—quietly costing money while doing very little. More owners are starting to treat these spaces less like “extra property” and more like a managed asset: something that can generate income without becoming a second job.
That shift is largely driven by professional management. Instead of owners handling guest messages at midnight or coordinating cleaners between bookings, a management team runs the operational layer. Some owners work with local operators; others use specialist providers likeFirst Class Property Management when they want a structured system and clear accountability.
This isn’t about turning every home into a hotel. It’s about making a home rentable in a way that stays consistent—on presentation, upkeep, and communication.
What a “managed home” actually means
A managed home is simply a property with a repeatable operating process wrapped around it. The property might be rented long-term, mid-term, or short-term, but the concept is the same: the work is standardised and owned by someone other than the landlord.
In practical terms, management usually covers:
a single point of contact for guests or tenants
scheduling cleaning, inspections, and access
maintenance triage and vendor coordination
inventory and restocking (for short stays)
reporting that shows what happened and what it cost
When these pieces are consistent, the property stops running on improvisation.
Where the income lift really comes from
Owners often assume higher income is mostly about charging more. In practice, performance tends to improve through a few operational levers that don’t require dramatic changes.
Fewer dead days on the calendar Fast turnovers and reliable readiness reduce gaps between bookings. A shorter gap can outperform a higher nightly rate that leaves more empty nights.
Fewer avoidable refunds and disputes Clear check-in instructions, quick issue resolution, and good documentation reduce the expensive problems: cancellations, compensation, deposit disputes, and repeat complaints.
Pricing that stays aligned with demand The goal isn’t a perfect price once. It’s steady adjustment based on seasonality, lead time, and booking patterns—without undermining quality.
Condition preservation Well-run properties usually cost less over time because small issues are caught early (leaks, humidity problems, appliance drift) instead of becoming major repairs.
If you’re trying to sanity-check the numbers behind short stays, a breakdown likehow much you can earn from a Dubai holiday home can be a useful starting point for thinking through occupancy, nightly rates, seasonality, and costs—while keeping in mind results vary by location, property type, and execution.
The operations that make the model sustainable
A managed home only works long-term if the home doesn’t get worn out by the process. The “boring” systems matter most.
Turnovers that protect finishes
Short stays can be tough on a home if resets are rushed. Strong management standardises:
cleaning methods by surface (stone, timber, metal, upholstery)
a simple restock minimum (so you don’t overbuy and bin unused items)
quick photo checks that catch damage early
Maintenance that’s preventive, not reactive
The homes that hold up best usually have routines:
HVAC filter and drain-line checks
moisture checks around kitchens and baths
sealant and grout inspection in wet zones
a clear escalation rule for repeat issues
Access control and accountability
Key control, smart locks, and vendor access windows sound minor—until something goes wrong. Good management reduces risk by controlling access and closing out work with notes and invoices owners can actually follow.
Dubai as a clear example of the “managed home” effect
Dubai’s short-stay market makes the operational model easy to see because standards are high and demand can be seasonal. Owners who treat the property like a system—consistent resets, fast response, disciplined maintenance—tend to avoid the performance swings that come from messy operations.
The bigger lesson applies anywhere: income is rarely limited by the home’s “potential.” It’s limited by how reliably the home can be presented, serviced, and supported.
What to ask before you hand over the keys
Whether you’re renting long-term or short-term, these questions quickly reveal whether a manager has a real process:
What does your weekly/monthly routine look like (inspections, preventive checks, reporting)?
What counts as urgent, and what’s the escalation process?
How do you manage vendors—scope, quality checks, and close-out documentation?
If short-stay: what’s your turnover checklist, and who signs it off?
How do you prevent repeat problems (the same leak, the same AC fault, the same complaint)?
What’s included in your fee, and what triggers extra charges?
The takeaway
Managed homes are becoming modern income streams because they replace owner effort with systems: consistent turnovers, maintenance discipline, controlled access, and reporting that keeps decisions clear. When those pieces are in place, renting out a home can feel less like constant coordination—and more like a property that runs predictably while still being treated with care.
“We’re a very political band,” says Brèagha Cuinn, one half of punk rock band Bratakus. “It’s so easy to get burned out with political stuff and feeling you’re fighting a losing battle, so it’s important to share the messages in our songs so people don’t feel alone.”
Cuinn, along with her bandmate/sister Onnagh, are set to release their second album Hagridden on February 13, a relentless, widescreen Stoogian politico-punk manifesto. The songs are like ten electric shocks railing against late-stage capitalism and white patriarchy, moored by Breagha’s pencil-sharpenings’ voice, which punches its messages with the phlegmy tone of Linda Blair in The Exorcist. “Almost every time I come off stage, a guy will come up to me and say:’ I didn’t expect such a big, powerful voice to come out of such a tiny wee girl,” Breaghan says, sitting next to her sister over Zoom. “It correlates to what things are seen as ‘feminine’ and less powerful.” The album includes the explosive ‘Turnstile’ which features the giant-footstep drums from The Hives Chris Dangerous; Behave which is about being groped at a gig (“It’s really disheartening the amount of reckless macho aggression is prominent at a lot of shows”); and the propulsive ‘Final Girls’, which takes the horror movie trope – that the chaste, ‘good girl’ survives the killer – and applies it to the modern world. “The onus shouldn’t be on women to behave in a certain way in order to be safe or respected,” explains Breagha.
Since they began a decade ago, do they think sexism has decreased in the alternative scene? “That’s a kind of hard question to answer,” says Onnagh. “I wouldn’t say I’ve noticed a huge improvement since we began.” Breaghan says that what she has seen an increase in is ‘fake inclusivity’. “At festivals you will get these performative gestures like ‘Ladies Night’ which are attempts to combat critiques that there aren’t any women on the line up. But they will happen on the Thursday, before anyone has actually got to the festival,” she says. “Why not just have a more diverse line up?”
The duo grew up in Tomintoul, the highest village in the Cairngorms. It was isolated from urban subcultures, but their parents were veterans of the Scottish DIY punk scene of the 90s and 2000s (her dad was in punk band Sedition). “Some of our earliest memories are of being in our house, which is in the middle of nowhere, and our dad’s friends rehearsing in our living room,” remembers Oonagh. “Politics was always openly discussed. Our mum is a very outspoken woman who is unafraid to speak up about the things she believes in.”
Getting a mix CD which contained Bikini Kill’s ‘Tony Randall’ for Breagha’s sixth birthday was a key moment for the development of the band. “I started to read about the Riot Grrrl scene, where they combined feminism and punk,” she says.” Girls who were angry and wanted to make music and maybe they didn’t even know how to play instruments, but they just figured it out. That was really inspiring to me.”
Seeing the video for The Distillers’ ‘Drain the Blood’ on Kerrang! TV was an epiphany for 8-year-old Breagha. “I was at my gran’s house, and hearing the gravel and grit that she had in her voice blew me mind,” she remembers. “It just shows you how much representation matters,” says Oonagh.
Hagridden is the follow-up to 2017’s Target Grrrl and its birth has been a difficult one. Despite one of the tracks – Real Men Eat Meat – appearing in early form on their Bandcamp page as early as 2021, it’s taken the band years to finally release the full album. Breagha wrote their follow-up album and then ditched it. “I was not inspired by what I had written and it was too similar to the first album,” she says. She lifted the songwriting restrictions she’d put on herself and wrote a new batch of songs. “I spent a year writing solo songs in loads of different genres and subject matters.” After that songwriting cycle cleared out her system, she was ready to write for Bratakus again. A new album was completed but then the tech failed. “We recorded the entire album in our home studio but our laptop got destroyed and we lost it,” she explains. “Then different hold ups like the pandemic and health issues meant we weren’t able to release it,” she says. It’s been worth the wait. Still, the band are taking no chances with the next one. “‘Hagridden’ means ‘plagued by nightmares’. It became a self-fulfilling prophecy,” jokes Brenagha. “We’re going to call the next one ‘Smooth Sailing.'”
Copenhagen’s Fashion Week was very… Scandinavian. Cool, laid-back, nothing we haven’t seen before. The overlap with Paris Haute Couture Week didn’t exactly spice things up. Ιf anything, the “meh” factor went up a notch. But France can take part of the blame. Still, a few looks managed to stand out. You don’t have to do something new, you just have to do it well.
Kristoffer Kongshaug was one to watch this season, from start to finish, though admittedly more towards the finish. The designer saved his best for last. A sheer blue peplum gown, ruffles at the waist, collar to the Gods. Necks, in fact, were very much his thing this season, inspired by an old photograph of his late aunt in a high-necked jacket. “I’m from the rural part of Denmark, so it’s my first memory of a woman who would dress up,” the creative told Vogue. That being said, hope the photo album runs deep.
When I think of Copenhagen’s taste, Miu Miu comes to mind. Recycling has recently joined the list. Sson works with discarded and recycled materials, this season turning its attention to excess, and the art of making it desirable. Luckily, Yulia Kjellsson, creative director and co-founder of the brand, knows exactly what to do with the overflow. Picture handbags reimagined as skirts, boots wide enough to accommodate four calves, polka dots, stripes, muted pink, navy, gray, white, you get it. The ethical Miu Miu-ification we like to see, even from miles apart.
Scandi girls often write the rules of minimal cool. At least Bonnetje’s Yoko Maja Hansen and Anna Myntekær did. Deconstruction of menswear and manipulation of fabric sit at the core of the label’s identity, and it looks just as good as it sounds. Think mini dresses crafted of shirt cuffs, maxi dresses built out of tank tops and blazer sleeves. And now that blazers joined the conversation, picture them at war with Rococo paniers (the panniers won), and the list goes on. Let’s just hope the “finance bros” can keep up with the recycling.
Skovgaard has a little retro in him, always. Inspired by “Denmark’s Darling,” actress Marguerite Viby and her film “Millie, Marie and Me,” the collection leaned into contrast, just like she did on screen. That 1930s juxtaposition came with the thinnest eyebrows, colors, a bit of romance, and leather holding company to feather-light fabrics. “It’s a lot about exploring that tension between control and expression,” the creative told Vogue. “Creating these silhouettes that hold both characters.” Fair enough. Someone dim the lights.
Flying Lotus has announced a new EP, Big Mama. The seven-song effort arrives on March 6, marking his first release on his own label, Brainfeeder. It’ll be accompanied by a short film. Check out a teaser for it below.
Flying Lotus made Big Mama in New Zealand while working on his debut film, Ash, which premieres March 21. “I wanted it to feel like being shot out of a cannon, just explosive, unpredictable energy,” he explained. “Like a fuckin’ computer gone awry. Like a machine that had just lost its mind…”
“I wanted it to be free and feel alive,” he continued. “I think that was a big intention of mine with this record, just to think about it more like sound design and make something that felt unpredictable and maximal. As we get into a place where tracks are becoming more “perfect” and things are becoming more sterile, I want to try to keep it interesting and try to keep bringing in things that are uniquely human to electronic music, which is, you know, becoming harder I guess.”
Big Mama Cover Artwork:
Big Mama Tracklist:
1. Big Mama
2. Captain Kernel
3. Antelope Onigiri
4. In The Forest – Day
5. Brobobasher
6. Horse Nuke
7. Pink Dream
Hauser & Wirth New York will present Qiu Xiaofei: The Theater of Wither and Thrive from 12 February – 18 April 2026 at its 22nd Street location. Showcasing the artist’s latest body of work, the exhibition brings together new oil paintings and works on paper.
The exhibition takes as its starting point the discovery of previously unknown family photographs following the death of the artist’s father. From this intimate material, Xiaofei develops a broader meditation on memory and transformation, moving between personal recollection and wider historical and psychological states. Rendered in vivid, dreamlike imagery, his works stage a quiet tension between presence and absence, growth and decline.
Born in Harbin and currently based in Beijing, Qiu Xiaofei is known for his psychologically charged paintings rooted in family memories and an attachment to his hometown. His practice draws on personal history, literature and psychoanalytic thought, producing layered compositions in which past and present collapse into theatrical spaces.
The exhibition will be available to view at Hauser & Wirth, 542 West 22nd Street, New York, NY 10011.
It’s been a little over a year since Kathryn Mohr released her staggering debut LP, Waiting Room. Today, the Bay Area artist has announced her sophomore album, Carve, which is set for release on April 17 on the Flenser. It’s led by the sludgy, gothic new single ‘Property’. Check it out and find the album cover and tracklist below.
‘Property’ is “…an amalgamation of dream images and visions I had throughout 2025,” Mohr explained. “It’s also inspired by an underground man made waterway I found that went on for miles under the city I live in. walking through, climbing 50 feet up a ladder to look out the man hole, see where I am.”
Carve was written over the course of five years and recorded in a rural singlewide in the Mojave Desert. It started taking shape after a long tour that ended in Joshua Tree, prompting Mohr to drive alone into the desert. She returned months later to track the album, working alone out of a “western-themed jail Airbnb.” It was mixed by Richard Chowenhill of Flenser labelmates Agriculture.
Last year, The Chemical Brothers’ Tom Rowlands and AURORA shared their first single as TOMORA, ‘Ring the Alarm’. Today, they’ve announced their debut album, COME CLOSER, and shared its hypnotically alluring title track. The LP comes out April 17 via Capitol Records. Check out the video for ‘COME CLOSER, produced and directed by Adam Smith and S T A R T !, below.
“This is our album COME CLOSER,” the duo said in a press release, “it is everything we dreamt of. “We made it without obligation or expectation, just a joy in creation. It’s the sound where we meet, the landing zone of our musical escape pods. It is a special place to us. We hope you dig it as much as we do.”
COME CLOSER Cover Artwork:
COME CLOSER Tracklist:
1. PLEASE
2. COME CLOSER
3. A BOY LIKE YOU
4. RING THE ALARM
5. MY BABY
6. HAVE YOU SEEN ME DANCE ALONE?
7. SOMEWHERE ELSE
8. I DRINK THE LIGHT
9. WAVELENGTHS
10. SIDE BY SIDE
11. THE THING
12. IN A MINUTE
