In today’s cultural scene, visuals are no longer just supporting elements. They have become central to how we experience and remember moments. Whether it’s a music video drop, the unveiling of a new art collection, or a behind-the-scenes look at a fashion shoot, imagery shapes how we connect with these events. It influences how stories are told and how audiences engage with them.
Awing Visuals, known for its cinematic style, is a reminder of how much thought goes into capturing these moments. Their work shows that intentional, high-quality visuals can turn an event into something that resonates far beyond its original setting. When the camera becomes part of the storytelling, the audience is invited into an experience rather than just shown a snapshot.
Visual Storytelling in the Music World
Music releases have always been about sound first. But in recent years, visuals have taken on an equal role in the overall impact of an album or single. Artists release visualizers, short films, and behind-the-scenes reels that expand on their creative vision. These pieces give fans more than just a track to play. They offer a mood, a narrative, and a context that deepens the listening experience.
Think of a live performance captured with care. The lighting, camera angles, and pacing can make viewers at home feel the same energy as the crowd in the venue. In many cases, these videos become part of the artist’s identity, influencing how the music is remembered.
Art Exhibitions in Motion
In the art world, exhibitions were once limited to those who could physically attend. Now, video coverage and carefully shot photography bring these events to global audiences. The movement of a camera through a gallery can recreate the feeling of walking between works. It can capture the play of light on a sculpture or the texture of a painting in a way that still images cannot.
For curators and artists, this opens up new possibilities. Documenting an exhibition is no longer just archival work. It becomes part of the artistic process, with the video itself serving as a creative interpretation of the show.
Fashion’s Dynamic Side
Fashion has long relied on strong visuals, but the shift toward digital media has pushed the medium further. Editorial shoots now blend photography with video, creating hybrid pieces that feel alive. Social media clips capture the movement of a dress or the personality of a model in ways a single frame never could.
Fashion week coverage is another example. Live streams, recap videos, and designer interviews give viewers a complete experience. They can see the garments, hear the music, and feel the atmosphere of the show from anywhere in the world.
Why Visuals Resonate in Culture
High-quality visuals connect with audiences on an emotional level. They make cultural moments more accessible and memorable. They give context to what is being shared, whether that is a song, an artwork, or a clothing collection.
Here are a few reasons why visuals play such a powerful role in cultural storytelling:
They set the mood. Lighting, framing, and movement work together to create a feeling.
They provide context. Viewers can understand the environment, the people involved, and the significance of the moment.
They enhance memory. A striking image or video clip can stick in someone’s mind long after the event.
The Balance of Art and Documentation
Visual storytellers often walk a fine line between documenting and interpreting. The goal is to preserve the authenticity of the moment while adding artistic elements that enhance it. Too much manipulation can make a piece feel staged. Too little attention to detail can make it flat or forgettable.
The best cultural visuals often feel both spontaneous and intentional. They have a rhythm and flow that guides the viewer’s eye, while still letting the raw energy of the moment shine through.
The Technology Behind the Lens
While the artistry of the creator is most important, technology has made modern cultural visuals more dynamic than ever. Lightweight cameras, drones, and stabilizers allow for shots that were once impossible. Editing tools give storytellers the ability to shape footage in creative ways without losing authenticity.
These tools don’t replace vision. Instead, they expand what is possible. They let creators match the tone of the visuals to the tone of the cultural moment they are capturing.
Bringing Audiences Closer
One of the most valuable outcomes of high-quality visual storytelling is the way it bridges gaps. People who can’t attend a concert, gallery opening, or runway show can still feel like part of the experience. They can watch, rewatch, and share these moments with others.
For cultural movements, this is crucial. It means that important moments don’t fade as soon as they are over. They live on in ways that inspire new conversations and connections.
A Future Where Visuals Lead the Way
Looking ahead, it’s clear that visuals will continue to drive how we engage with culture. Short-form video, immersive livestreams, and interactive media will give audiences even more ways to participate. Cultural highlights will not only be documented but reimagined through creative visual work.
The challenge for visual storytellers will be to keep the human touch in a world where technology can do so much. The most memorable moments will always come from a balance of skill, style, and an understanding of the culture they aim to capture.
Casinos are more than just places to gamble; they are living examples of how language and culture intertwine with the pursuit of luck. From the clatter of roulette wheels in Monte Carlo to the bright lights of online platforms like the 4Rabet website in India, the terminology used in gambling is heavily influenced by local customs, history, and even superstition. For newcomers, registering and exploring these platforms is easy—you can start your gaming journey seamlessly at4Rabet registration, giving you access to a wide array of slots, table games, and live dealer experiences while learning the language of luck.
Understanding casino terminology is more than just memorizing words; it’s about appreciating the culture that shaped them. Words like “hit,” “double down,” or “jackpot” carry different connotations across regions, reflecting the local attitude toward chance, strategy, and celebration. As you play and explore online casinos, you’ll notice that cultural nuances affect everything from the names of games to the gestures, slang, and superstitions that players follow.
Origins of Casino Terminology
Many gambling terms have roots in history and society. In European casinos, words like “croupier” (French for dealer) and “roulette” (meaning “little wheel”) are borrowed from the French language. In contrast, American casinos introduced terms like “hot streak” or “cold table,” reflecting both the optimism and superstition inherent in the Las Vegas gambling culture.
In Asian cultures, terminology often ties into luck and symbolism. For instance, in Chinese casinos, numbers like 8 and 9 are considered auspicious, and phrases like “fu” (meaning fortune) are commonly used. Understanding these terms can give players insight into local traditions and help them navigate games more effectively.
The Role of Superstition in Language
Superstition plays a central role in shaping casino terminology. Phrases like “lucky charm,” “beginner’s luck,” or “jinx” are common across the gambling world, yet each culture interprets them differently. In Japan, for example, certain gestures or rituals before placing a bet are believed to influence outcomes, while in the West, players often focus on lucky coins or specific numbers.
The language of luck isn’t just poetic; it’s functional. It gives players a sense of control in an inherently unpredictable environment. Knowing which phrases are considered lucky or unlucky can even influence how you approach betting strategies.
Table Games and Cultural Nuances
Table games are a prime example of how culture shapes terminology. Blackjack, poker, baccarat, and roulette each have distinct linguistic traditions.
Blackjack: Terms like “hit,” “stand,” and “split” originated in English-speaking countries and reflect a strategic approach to the game. In French, the game is called “Vingt-et-Un” (21), emphasizing the goal rather than the actions.
Poker: Known for its bluffing and psychological tactics, poker has spawned a rich vocabulary, including words like “all-in,” “call,” and “river.” Many of these terms have evolved differently in international poker circles.
Baccarat: Popular in Asia and Europe, baccarat terms often reflect elegance and simplicity. Words like “punto banco” (player-bank) come from Italian and Spanish origins.
By understanding these variations, players can appreciate the historical and cultural context behind every table game.
Slot Machines: Universal Yet Culturally Infused
While slots are visually universal, their terminology and themes are heavily influenced by culture. In the United States, classic slots use terms like “reels,” “paylines,” and “jackpot,” often featuring symbols such as cherries, bars, and sevens. In Japan, pachinko machines use terms like “hanabi” (fireworks) and “koi-koi” (a traditional card game), blending cultural storytelling with gameplay.
Online casinos like 4Rabet integrate these diverse traditions, offering slots with themes that appeal to players worldwide. By exploring these games, you not only chase wins but also learn how cultural context shapes the gaming experience.
Language of Luck in Online Casinos
With the rise of online casinos, the language of luck has evolved yet again. Digital platforms offer chat functions, interactive guides, and community forums where players share tips and slang. Terms like “cash-out,” “multiplier,” or “demo mode” are now standard in online gambling, bridging cultural gaps and creating a new global casino lexicon.
Platforms like 4Rabet website in India allow users to register easily at https://4ra-bets.com/registration/ and dive into this multilingual, multicultural world of betting. Here, players encounter traditional casino terminology alongside digital-era phrases, reflecting the evolution of gambling language in the modern age.
Regional Variations and Local Flavor
Even within the same game, regional terminology can differ. For example:
In the UK, poker terms like “flop” and “muck” are widely used, while in Asia, English terms are often adapted into local phonetics.
Roulette in Europe uses French phrases like “la partage” (a rule that gives half the bet back on zero) while American casinos refer to “even money” bets.
Slot bonuses may be called “free spins” in the West but “bonus rounds” or “mini-games” in other cultures.
Recognizing these differences enriches the gaming experience and helps players communicate more effectively with international communities.
Influence of Media and Pop Culture
Television, movies, and online content have also influenced casino terminology. Shows like Las Vegas, movies like Casino Royale, and streaming content from platforms like YouTube have introduced audiences to poker slang, betting jargon, and the dramatized language of high-stakes gaming.
This media exposure has helped standardize certain terms across regions while also introducing playful, culturally-specific expressions that add flavor to online casinos.
Learning the Language of Luck
For new players, learning the language of luck can be both practical and entertaining. Understanding terms improves gameplay, allows you to follow instructions, and helps you engage with other players. Many online platforms, including 4Rabet, provide guides, tutorials, and customer support to familiarize users with key phrases and game mechanics.
Exploring the cultural roots of casino terminology also adds a layer of enjoyment. Whether it’s learning why the number 8 is lucky in Chinese culture or why “double down” conveys boldness in English, these insights deepen your appreciation for the global gambling tradition.
Final Thoughts
The language of luck is more than words—it’s a reflection of history, culture, and human psychology. From European croupiers to Asian numerology, from classic table games to modern online slots, every term carries meaning, tradition, and sometimes superstition. By understanding these nuances, players can navigate casino environments more confidently and enjoy a richer gaming experience.
Platforms like 4Rabet website in India provide an excellent gateway into this world. By registering at4ra-bets.com/registration/, players can access a vast selection of games, explore cultural influences, and immerse themselves in the global language of luck—all from the comfort of their own home.
Whether you’re chasing jackpots, testing strategies, or simply enjoying the thrill of the spin, knowing the language behind the games makes every bet more meaningful and every win more rewarding.
Perfect Match has a lot going for it. Besides the fun format, it features contestants from the Netflix Reality Universe. Many viewers are already familiar with them from popular titles like Love Is Blind or Too Hot to Handle.
There’s no wonder the series continues to be a hit. Season 3, now in the rearview mirror, is currently the number 7 show on the platform globally, with 2.8 million views this week alone. If you’re hungry for more episodes, the odds are looking good.
Perfect Match Season 4 Release Date
At the time of writing, Netflix hasn’t officially announced Perfect Match season 4. That said, strong viewership numbers are always a positive sign. Plus, the streamer sometimes waits a bit before giving the green light, so we’re cautiously optimistic about the show’s future.
The first season of Perfect Match premiered in 2023, with subsequent ones following in 2024 and 2025. As long as the series gets renewed, we’ll likely get more episodes sometime in summer 2026.
Perfect Match Season 4 Cast
Since there’s no news on season 4 yet, we also don’t know anything about the cast. Nick Lachey hosts the series, but it’s going to be a while until we find out which contestants from other reality shows are ready to take on a new challenge.
The season 3 cast featured stars from Love Is Blind, Too Hot to Handle, The Ultimatum: Marry or Move On, The Circle, The Bachelor, Love Island, and more.
What Is Perfect Match About?
Love and strategy collide in Perfect Match, which makes the show particularly addictive.
The reality series challenges contestants to form connections while competing in compatibility games designed to test everything from communication skills to trust. Each night, couples pair off and move into private suites, while the singles left unmatched risk elimination.
The twist lies in power. Winners of the daily challenges also gain control over the game, with the ability to shake up existing relationships by sending new contestants into the mix or splitting up established couples.
While that may seem complicated at first glance, once you learn the rules, you’ll be a goner. The show’s blend of romance and rivalry invites drama, so each episode becomes an intoxicating mishmash of steamy moments and unexpected twists.
The show retained its format for season 3, when Lucy and Daniel were crowned winners. We don’t expect a potential Perfect Match season 4 to shake things up too much. Why mess with a successful formula?
Are There Other Shows Like Perfect Match?
If you’re into Perfect Match, you’ll probably enjoy other shows that tackle romance and competition. The list includes The Ultimatum: Queer Love, The Mole, Bachelor in Paradise, Battle Camp, and Ex on the Beach.
Will our collective fascination with serial killers ever fizzle? Based on how many people watched the latest installment of Netflix’s Conversations with a Killer series, it’s highly unlikely.
Tackling the notorious David Berkowitz, known as Son of Sam, the docuseries is currently a top 10 show in 20 countries where the streaming service is available. It also gathered 1.7 million views in the last week alone, proving that the true crime genre still has a hold on audiences worldwide.
Could this mean more similar content is on the way?
Conversations with a Killer: The Son of Sam Tapes Season 2 Release Date
At the time of writing, there’s no official news on a potential Conversations with a Killer: The Son of Sam Tapes season 2. That said, the series will probably continue to profile other killers.
The Son of Sam Tapes is the fourth chapter in the Conversations with a Killer series. Previous installments focus on Ted Bundy, Jeffrey Dahmer, and John Wayne Gacy.
While we might have to wait a couple of years for a fresh batch of episodes, it will be worth it. So far, each new entry in the franchise has been equal parts disturbing and illuminating.
The Son of Sam Tapes Cast
Mary Murphy
Joseph Borrelli
Jack Jones
Lawrence Klausner
Manny Grossman
Marlin Hopkins
Richard Edmonds
What Is Conversations with a Killer: The Son of Sam Tapes About?
This gripping docuseries offers an unsettling look into one of America’s most infamous serial killers.
Over the course of three episodes, this installment in the Conversations with a Killer anthology revisits the 1976–1977 terror inflicted on New York by David Berkowitz, known as the Son of Sam.
The series delivers audio interviews, present-day reflections from reliable sources, and archival information. Together, the mix allows viewers to delve deeper into Berkowitz’s psyche, as well as understand the societal impact of his crimes.
We learn more about Berkowitz’s troubled upbringing and the motivations behind the killings. Additionally, the docuseries offers a comprehensive analysis of his mindset, while also explaining how the case became a touchstone for modern true crime.
If you’re interested in the genre, it’s a must-watch for sure.
Are There Other Shows Like Conversations with a Killer?
Conversations with a Killer: The Son of Sam season 2 might not become a thing. But if you found this installment interesting, there’s a good chance you’ll enjoy the rest of the anthology.
“I never lie in my songs,” Cass McCombs repeats on ‘I Never Dream About Trains’, a highlight from Interior Live Oak, his 11th album, which means he has certainly released over a hundred. Lest you take his words at face value, the odd specificity of the ensuing lyrics should elicit some skepticism (“I never dream about holding you tight/ On the sand in Pescadero”). What he sings on the previous song, though, is much closer to the truth: “I mean everything I say, or something quite like it.” The meaning of Interior Live Oak, a 12-song double album that follows 2022’s excellent but much more concise Heartmind, remains elusive, but McCombs manages to weave it all together, singing through a cast of unreliable narrators that only cement his own musical consistency and earnestness. They are dancers and cynics, real and imagined, brutally honest and spiritually truth-bearing. If they all, at times, seem buried in sleep, that’s because dreams, they say, have no lies to hide.
1. Priestess
One of two songs produced with Sam Owens (aka Sam Evian), ‘Priestess’ is an elegy – “of sorts,” the press bio aptly clarifies – for a friend, though the lyrics are as cryptically phantasmagoric as the hook is tight. “You saw that each one of us/ Are opaque as woven air/ Your dark humor no one could touch,” McCombs sings, capturing a whiff of it, but too intimate to be brutally honest.
2. Peace
Introduced by an exquisite acoustic riff and ending with a scruffy guitar solo, ‘Peace’ feels like a warm extension of ‘Priestess’ – both were advance singles – fixating on the word we use to bid farewell. It’s not so much about being fearless in the face of death so much as embracing fear amidst certainty.
3. Missionary Bell
With death still on his mind, McCombs gets more earnest and philosophical, his acoustic guitar playing simpler. As he lingers on the metaphor of “fathomless oceans,” his stately melody is the opposite of discordant, carrying you gently along. There are no bad songs on Interior Live Oak, but few as understated, and none better.
4. Miss Mabee
McCombs breaks the mood with a chugging, playful song that relies on the titular bit of wordplay (“Maybe Miss Mabee will, maybe Miss Mabee won’t”). Not much more to offer, but it does its job.
5. Home at Last
McCombs keeps things humorous with ‘Home at Last’, only this time it’s moodily self-deprecating. He’s aware of having to make a double album cohere instead of feeling like a disparate collection of songs, and it comes through even in the subtlest lyrical decisions: “Greeted by the hand of my maker/ I will shake it a lot/ Maybe some old streetlamp will blink once for me/ Maybe not.” Mr. Mabee, perhaps?
6. I’m Not Ashamed
Returning to unadorned, nostalgic sweetness, the narrator digs up a past without shame – a childhood where he’d climb on top of cherry trees, threatened by teeth-baring clouds – and projects it onto the present. If only the course of our lives could feel so weightless and pure; something’s lost in growing up, but maybe we can learn from it.
7. Who Removed the Cellar Door?
Widening the scope of the album, ‘Who Removed the Cellar Door?’ is quite a filmic interrogation of the titular prompt, with a strong melody that makes it easy to follow the narrative. Co-producer and longtime collaborator Chris Cohen helps create an ominous atmosphere, weaving the song around wafts of guitar and low-end fuzz.
8. A Girl Named Dogie
After ‘Miss Mabee’ we get ‘A Girl Named Dogie’, which maintains the previous song’s brooding atmosphere. The premise is familiar: the girl moved to New York “from somewhere hella plain,” though McCombs takes that line in a surreal direction by rhyming it with “and brought with her the rain.” Aided by Jason Quever, the song is sparser and drenched in reverb rather than layers of instrumentation, unexpectedly lighting up as if to illuminate the dark stage where the girl dreams herself a star. To match the glammy guitar solo he somehow finds space for, McCombs then starts yodelling. Just in case you’re starting to drift off.
9. Asphodel
Anchored by a driving guitar line and fluid drumming, ‘Asphodel’ is generous towards mysticism, neither ridiculing nor indulging in it. It revolves around a portal beneath San Francisco’s TransAmerica Pyramid leading to the city’s dark underworld – and where, a junkie informs the narrator, a flower grows in the dark. He juxtaposes fantastical details with incontrovertible truths: “The oak is alive by what is buried underneath.” His tone ultimately, once again, becomes elegiac, the flower harnessed for its figurative power, a spiritual warmth not even a cynic could deny.
10. I Never Dream About Trains
The suspiciously titled ‘I Never Dream About Trains’ is made all the more ironic by McCombs’ sensitive delivery: “Having cooled all desire/ I don’t require a thing from the Fates.” Maybe the latter line is true, but desire shows no signs of cooling. Maybe you can’t waltz loss away, but you can sort of wink at it.
11. Van Wyck Expressway
In another instance of smart sequencing, the desire is plainly revealed, if rather ambivalent: “I want something I can’t have/ I have something I don’t want.” ‘Van Wyck Expressway’ houses one of the album’s most mesmerizing melodies, swayed by fingerpicked guitar and cello that complement McCombs’ hushed vocals. “Human life is sleeping life,” he sings. Yet he can’t escape the vestiges of his own experience, laid out there in the dreams.
12. Lola Montez Danced the Spider Dance
Another cinematic song in the vein of ‘Who Removed the Cellar Door?’, this one stretches over seven minutes and centers on the Irish woman who became famous as a Spanish dancer (and whose list of lovers included pianist Franz Liszt and novelist Alexandre Dumas). Soundtracking her “final dance of desire,” the song is slow-moving but could use a few more textures to justify its length. Fictional as it may be, it inadvertently encapsulates the themes of the album in a couple of lines: “Unpleasant dreams, dark desires/ Poisoned spirits and flying embers.”
13. Juvenile
If ‘Miss Mabee’ was playful, ‘Juvenile’ is downright goofy, adopting the perspective of the adolescent as much as it is admonishing him. Primus catch a stray among the things that suck (everything), while the singer cautions against advertising that promotes the power of the new: “New map/ New crap/ New music/ That don’t slap.” Except Interior Live Oak, of course. McCombs knows he’s not saying anything new, but it still slaps.
14. Diamonds in the Mine
‘Diamonds in the Mine’ feels like a breath of fresh air at this point in the tracklist, lighthearted and comforting. Darkness is coming, he admits, but there’s no need to fear it because nothing stays the same. It’s a simple message, but Sam Owens does a wonderful job colouring in the spectral arrangement. “Glimmer adieu,” turns out, is just another way to say peace.
15. Strawberry Moon
The night has come, and as all lovers (our narrator included) gravitate towards the same titular beauty, McCombs offers them another waltz. When the city sleeps is when the music comes alive.
16. Interior Live Oak
If Interior Live Oak is a sleepy (complimentary) record, McCombs finishes it off with its rowdiest track, drunk on thunderous riffs and double-time drumming. If you’ve just woken up, it makes you want to fall back into the slumber, just to remember what the dreams were all about.
In this segment, we showcase the most notable albums out each week. Here are the albums out on August 15, 2025:
Cass McCombs, Interior Live Oak
Cass McCombs has returned with his first solo studio album in three years, Interior Live Oak. The wondrously contemplative follow-up to 2022’s Heartmind finds the singer-songwriter returning to his longtime label home of Domino, following a series of albums with ANTI-, and was previewed by the singles ‘Priestess’, ‘Peace’, and ‘I Never Dream About Trains’. Inspired by his return to the label as well as last year’s reissue campaign, McCombs revisited the economical approach of his earlier songwriting, working with past collaborators such as Jason Quever (Papercuts) and Chris Cohen.
Dijon’s bold, fiery, buoyant new album Baby has arrived, just a week after it was announced. It’s his first album in nearly four years, following Absolutely, though he’s recently contributed to a streams of records including Bon Iver’s SABLE, fABLE, Justin Bieber’s Swag, and Mk.gee’s Two Star & the Dream Police. The record was mostly made at home, in isolation with Dijon’s new family, with help from Andrew Sarlo, Henry Kwapis, and Michael Gordon.
Pile waste no time charging into their ninth album, Sunshine and Balance Beams, their first with Sooper Records. Relentlessly foreboding and epic in scope, the record journeys towards acceptance: “of oneself, one’s environment, and one’s limits,” per a press release. Founder Rick Maguire elaborated: “I’ve used ambition and daydreaming as a motivator for as long as I can remember, and I still do. The fulfillment I receive from pursuing art has been a guiding force for me, but it can be damaging when that pursuit teases capitalist expectations of where you might be able to go and then doesn’t square with the reality that follows. I tried to write this as a story.”
Chance the Rapper has self-released his first LP since 2019’s The Big Day. Crafted with longtime producer DexLvL, Star Line features guest spots from Lil Wayne and Smino (on the early single ‘Tree’), Vic Mensa, Jamila Woods, BJ the Chicago Kid, Joey Bada$$, Jazmine Sullivan, Young Thug, and TiaCorine. It was informed by the rapper’s travels to Ghana, Jamaica, and art fairs around the world.
Anxiety-ridden yet breezy, mathy yet melodic, Easier Said Than Done is Pool Kids’ most ambitiously pop-leaning effort to date. The Tallahassee band’s third album follows their 2022 self-titled LP and features the advance tracks ‘Leona Street’, ‘Sorry Not Sorry’, and the title track. “There’s a lot of Florida imagery and a lot of really specific glimpses from tour on this album,” Christine Goodwyne said of her lyrical approach. “By letting myself get specific, I feel a lot more emotionally connected to the songs. It’s a very personal record for me and for the whole band, too. I was writing about what life has been like for all of us over the last few years. I feel like all of us can relate to a lot of the songs.”
There’s nothing quite like Marissa Nadler’s dreamlike, darkly enchanting songs, and her new album New Radiations is no exception. Here, the singer-songwriter takes its hauntedness to the next level by enlisting mixing engineer Randall Dunn for an entirely percussionless, droning kind of Americana. “Psychic vibrations and new radiations have taken their toll on me,” Nadler sings on the title track, yet compels you to stay attuned. Along with ‘New Radiations’, the record was preceded by ‘Hatchet Man’ and ‘Light Years’.
Kaytranada has dropped a new album, Ain’t No Damn Way!. Marking the Canadian DJ and producer’s first new original music since 2024’s Timeless, the record is billed as “an intentional return to his dance music roots.” In an Instagram story earlier this week, Kaytranada said, “Letting y’all know that this album is strictly for workouts, dancing and studying and for my people that love beats.” He also shared the single ‘Space Invader’.
Fans of Black Country, New Road will find a lot to like on Racing Mount Pleasant, the self-titled debut album by the Michigan seven-piece formerly known as Kingfisher. It opens with ‘Your New Place’, a 7-minute track that swells and shapeshifts in vivid, heart-wrenching fashion. The song previewed the album along with the previously unveiled ‘Call It Easy’ and the title track, and there are a lot more gems to be found in it.
Steve Gunn, Music For Writers; Alison Goldfrapp, Flux; Black Honey, Soak; Conan Gray, Wishbone; Molly Tuttle, So Long Little Miss Sunshine; Maroon 5, Love is Like; Rise Against, Ricochet; Joseph Decosimo, Fiery Gizzard; Babyface Ray, Codeine Cowboy; Protect, 500 Days of Summer; Ganser, Animal Hospital; Audrey Hobart, Who’s the Clown?; Hit Boy, Software Update; Evidence, Unlearning Vol. 2; Fletcher Tucker, Kin; ROSIE, City Woman; Recoechi, Flavaz; Hussain Bokhari, Possessions; The Crabs, Years at the Unknown; Garage Sale, Any Day Now; Jordan Davis, Learn the Hard Way; Christina Carter, Like a Bayou to Its Gulf.
Steve Lacy has returned with a new song, ‘Nice Shoes’. Written and produced by Lacy, it marks his first new music as lead artist in three years. Check it out below.
In an interview with Rolling Stone, Lacy described ‘Nice Shoes’ as “a ‘trailer’ for this new moment in his career.” He also revealed the follow-up to 2022’s Gemini Rights is called Oh Yeah?. “This one has taken a lot of time and thought,” he said. “I keep using the word ‘design.’ It feels like fully designing a new language for myself.”
On the new single, which features some dizzying switch-ups, that language includes lines like, “My dick is getting hard again/ At the thought of you and me holding hands.” Lacy produced it with Nick Weiss (Nightfeelings) and Matthew Castellanos.
Cardi B has released a new song, ‘Imaginary Playerz’, the latest single from her sophomore album Am I the Drama? The track, produced by DJ SwanQo, OctaneThisThatGas, and Sean Island, interpolates Jay-Z’s ‘Imaginary Players’, and it’s accompanied by a video Cardi B directed with Patientce Foster. Check it out below.
Am I the Drama? arrives on September 19. It’s set to feature ‘WAP’, ‘Up’, and ‘Outside’.
Classic fragrances are capturing the imagination of modern consumers, bridging generations through their enduring allure. As the fashion world embraces nostalgia, vintage scents are becoming a mainstay in contemporary culture. Dior-inspired perfumes serve as shining examples of how timeless elegance can be seamlessly woven into today’s trends.
The charm of classic fragrances is experiencing a remarkable revival in contemporary culture. With their rich histories and captivating aromas, these scents are making a powerful comeback. Enthusiasts and newcomers alike find themselves drawn to Dior-inspired perfumes that evoke memories of elegance and sophistication. As the appreciation for vintage aesthetics grows, so does the demand for fragrances that encapsulate this nostalgic essence.
The historical significance of classic fragrances
The historical significance of classic fragrances cannot be overstated. Perfumes have been woven into the tapestry of culture for centuries, each bottle telling its own story. These scents carry with them a legacy of artistry, craftsmanship, and luxury that resonates deeply with today’s audiences. In an age where authenticity is prized, the rich heritage behind these timeless aromas offers a sense of connection to the past.
Perfumes from decades past were crafted with meticulous attention to detail, often using rare and precious ingredients. This dedication to quality has allowed them to stand the test of time. Their enduring appeal lies in their ability to transport wearers to another era while still remaining relevant in modern contexts. It’s no wonder that these fragrances continue to captivate perfume aficionados around the globe.
As cultural symbols, classic perfumes offer more than just scent; they represent moments in history and iconic figures who have worn them. From Hollywood starlets to European royalty, these fragrances have adorned influential personalities throughout time. This association with elegance and prestige further fuels their popularity among contemporary consumers seeking a touch of glamour in their daily lives.
Modern interpretations of vintage scents
In recent years, there has been a concerted effort to reinterpret vintage fragrances for modern audiences. Perfumers are reimagining these classics by incorporating contemporary notes while preserving their original essence. This delicate balance ensures that new iterations retain the same allure as their predecessors but appeal to evolving tastes and preferences.
For instance, Dior-inspired perfumes have been reimagined to include modern twists while maintaining their classic charm. These fragrances blend traditional floral and citrus notes with unexpected ingredients like pink pepper or oud, creating a fresh yet familiar scent profile that resonates with today’s consumers. The resurgence of classic scents is evident not only in individual perfume collections but also within broader fashion trends. Designers draw inspiration from these timeless aromas when creating new lines or revamping existing ones. This interplay between fragrance and fashion creates a harmonious blend where scent becomes an integral part of personal style expression.
Retailers are also responding to this trend by offering curated selections of vintage-inspired perfumes alongside newer offerings. By doing so, they cater to consumers who appreciate both tradition and innovation—a demographic eager for olfactory experiences that transcend conventional boundaries.
Influence of classic fragrances on modern fashion
The impact of classic fragrances on modern fashion is undeniable. These scents influence designers’ creative processes as they seek ways to incorporate elements reminiscent of iconic eras into contemporary collections. Whether it’s through fabric choices or color palettes inspired by renowned perfumes’ packaging designs—fragrance plays an essential role in shaping today’s sartorial landscape.
Dior-inspired perfumes exemplify how powerful this influence can be when executed thoughtfully within fashion circles worldwide; seamlessly blending nostalgia with cutting-edge design concepts—a testament to perfume’s transformative power across industries beyond its own realm alone!
As consumers become increasingly discerning about personal expression through style choices—fragrance serves as an invisible accessory enhancing overall appearance without overshadowing other aspects entirely—a subtle yet significant contribution towards achieving desired aesthetic outcomes every day without fail!
Teethe is a Southern slowcore band composed of Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett. Though they were occupying the same DIY spaces in Denton, Texas, the four members were part of various projects that accidentally converged into what they would call Teethe. Patrello had his band Dead Sullivan; Dowd started a project named Crisman, which Garrett joined; Robinson had MAH KEE OH. Sharing song ideas and fragments that didn’t fit into those projects, they ended up with their 2020 self-titled debut, which showcased not just a gift for melody but a willingness to sink you into it. For their mesmerizing second album, Magic of the Sale, the band’s recording process, split between their current home bases across Dallas and Austin, stayed virtually unchanged: tracking demos and uploading them to a shared folder. This time, though, the group of trusted contributors that helped bring to life their tender-hearted melancholy and warm existentialism widened: Charlie Martin of Hovvdy, performing additional piano; Wednesday/MJ Lenderman’s Xandy Chelmis on pedal steel, producer Logan Hornyak of Melaina Kol, and Emily Elkin on cello. “Hear your words like photos felt in sound,” a muffled voice sings on ‘Iron Wine’, stirring a wave of distortion. “Holding what our eyes can’t make up now.” Magic of the Sale sounds like slowing down the blink of an eye, where the smallest, most precious emotions seep into view.
We caught up with Teethe for the latest edition of our Artist Spotlight series to talk about the origins of the band, weaving together Magic of the Sale, the album’s lyrical perspectives, and more.
Boone and Madeline, take me back to when you first met at the University of North Texas. Do you remember what your first impressions of each other were like?
Boone Patrello: We met at freshman orientation. We just had similar musical interests, and we shared music with each other, and then we started making music together.
Madeline Dowd: I’d seen Boone around before orientation, but then we really got to talking on that first day of school, which is kind of funny to think about. We just started hanging out – I was recording my own music, and Boone was doing that too. It was really cool to find someone right off the bat and pretty much dive into that world. Boone showed me a lot of cool music that was really inspiring to me at that time. The whole scene in college of DIY and playing house shows, everything just fit into place.
I know there are several different projects that led and coalesced into Teeth. Is there a moment you can point to where Teethe felt like a distinct entity?
Jordan Garrett: In terms of the inception of the band, it wasn’t really a band formally; it was more of a recording project that then necessitated a band. We were asked to play a couple of shows with our friend, Alex of Alexalone, and that was what got us to play the songs live, thinking about more than just the album and recording.
MD: I think about the time that Teethe formed and I feel like it was kind of the perfect time that we made a collaborative project. College had ended, and everyone starts going their own ways, and then we made this project that almost kept us together, collaborating and still involved after that phase of life.
BP: The actual album itself had an inception of just songs that we had worked on together with no end goal. Just a handful of tracks we had collaborated on totally spontaneously.
How do you look back on piecing together that album?
BP: I have random memories of putting the record together, going back and forth with everybody. There were songs that we thought were really good, but it was like, “This isn’t for this solo project.” And then I remember scrounging through the hard drive and there were seven songs, putting those under a SoundCloud playlist, and then it became 12 songs. I remember lying on the floor and just listening to it from start to finish, and I was like, “Damn, this shit’s actually really good.” And then everybody else was saying the same thing.
JG: It’s funny that way because that album in particular feels like a bunch of B-sides from out.
MD: It’s cool that our first album came from the necessity of wanting to just make something. Because there was no intention, it was just from something pure, of just enjoying making music and keeping alive what we were doing in college.
With Magic of the Sale, it feels like you’re trying to preserve part, even though there’s more intentionality and a bigger sound. You didn’t work with an outside producer, for example, but you brought in a number of collaborators. How conscious of an effort was that?
BP: We didn’t change the way that we made the record at all. It is a conscious effort to choose not to go to a studio or hire a mix engineer, but it’s not like we took steps backwards. We have better gear and equipment and probably have gotten better at recording and mixing. It feels really natural, and it’s just the way we’ve always made music. But then there are elements of it where it was a conscious thing, even with the track listing and sequencing and stuff. It was using the first record as a template and not being too OCD about it.
MD: I feel like the first album is a tighter crop or a zoomed-in version of the second. Our second album, even with the artwork, I feel like zooms out and you get to see into the world. It feels the same, but it’s just so many more layers. Yeah, keeping the same template but expanding on it.
What was the process behind the cover art for Magic of the Sale? Was it something you conceptualized with the group?
MD: I just went in with the same mindset as the first record.
BP: And all the same tools and mediums, right?
MD: Yeah. The same way of thinking about it: listening to the music, going from the feeling of that, and recreating that character in a different setting. There weren’t really any stipulations around what I needed to do, which was nice.
When you were sharing ideas in a folder this time around, did you find yourselves falling into a different kind of rhythm?
JG: At least for me, it was very similar to the first LP. We would just share these songs, and then it would either be suggested that somebody add something, or more often than not, we would take the bones that were there and throw something on it. Then we’d put it back in and everybody would be like, “Okay, this is the song now.” It was very similar to that process, except we have a team behind us, so there is this notion that we’re presenting something, whereas the first LP was kind of our pet project. As Boone mentioned, we’ve just gotten better equipment and hopefully better at recording and presenting the ideas.
Grahm Robinson: Also, over time, we’ve all really learned each other’s strengths, so if I’m making a song, I automatically will know, “Oh, Maddie will sound really good on this part,” or “I’m going to send this to Boone because I know he’s gonna play slide guitar over this.” We’ve just gotten really good at knowing how to fit the pieces together on our songs.
Maddie, I noticed a couple of songs you sing lead on are on the rockier, more upbeat side.
MD: It’s kinda nice because even on the first record, there’s a few songs that are more upbeat in that way. Then with this second record, allowing there to be less of a confinement on the Teeth sound, staying in one box – it was fun to have some of those tracks where we experimented more with the sounds being heavier.
BP: ‘Holy Water’, one of Maddie’s songs, was actually a pretty chill demo, and then we turned it into a heavier rock song. But not for any particular reason – just thought it would sound cool.
Is the process usually more about filling out songs as opposed to subtracting or changing things?
BP: It’s definitely more of a maximal approach of just throwing everything at the song and seeing what sticks. More often than not, whether it takes the front seat or gets pushed down in the mix, most everything can work in the song. Whether it becomes really textural and quiet or whether it’s the lead line, this record feels like everything but the kitchen sink in terms of instrumentation and melody.
MD: I remember when you got a lot of stuff back from our collaborators, sending everything they could possibly do, and then you sifting through, picking and choosing what you wanted.
BP: It still was super intentional with those parts. It’s not just playing something and being like, “Sounds good.” It’s fitting as much as possible into every little part and just seeing everything through to its fullest potential. So yeah, I guess it’s additive, but then at the end you strip back and see what makes the most sense, but more of an additive thing.
Were you more selective with the additional instrumentation?
BP: The strings and the flutes were already baked in digitally, we just had them recorded, live. But with the people who played their own stuff, like the piano and the pedal steel and some of the additional production, that stuff was woven in around the songs that we had already fleshed out at 80% or something. There were some moments where it was almost like, “Is this getting in the way of what we already did? Is this distracting from us as a band?” But then it ultimately felt like it kept elevating and making the songs something more grand.
JG: All the collaborators are obviously people we respect a lot and value their musical opinions, so it was very easy for them to get their hands on it, and we could just take the back seat and let them do their thing.
BP: They all either make music or are in great bands that we like too, so it was easy to trust those people.
Was there a cello or a pedal steel part that you heard, and it really made a song click for you?
BP: I remember getting the cello parts back and just being mind blown. We had had the digital strings and thought that they might pass, but then once we got the actual strings, it was like, “Holy shit. This is awesome.”
JG: At our last rehearsal, Boone had soloed out the cello part and the drum parts, and we were just trying to figure out how to play some of the songs in a live setting. And just listening to those isolated, we were like, “This could be its own thing.” It’s very rich in that way.
BP: Yeah. And I remember getting the pedal steel parts back. Despite being kind of overwhelmed by the sheer amount of additional material to try to fit into the record, there are some parts where Xandy’s pedal steel is like, “Whoa.” There are certain aspects of the record where it’s things that we wouldn’t have been able to achieve on our own. It just feels more complete. There was one song, ‘Funny’, I completely restructured around one of Charlie’s piano parts; it was a song that I was kind of insecure about, and then once he played piano on it, I took what he did on the second half of the son and put it back on the first, st and and made it like the foundation of the song. And then I loved the song.
At this point, how do you see the relationship between Boone and Maddie’s voices? How do you feel like that dynamic works in these songs?
MD: I never really thought about it too much till our last show where someone had made a comment about it, but I just think it’s cool to have a conversation back and forth vocally. Obviously, because we’re dating too, I feel like it’s pretty natural. It’s kind of fun in some of the songs to realize that there’s a conversation happening intuitively.
BP: Whether it’s me singing or Graham or Maddie, I think it always sounds cool with a male and female voice. Doubling that is always cool, but because there’s multiple people writing lyrics, there’s a lot of moments or opportunity for the call and response type vocals, or for two speakers to be wrapped up in the same theme.
Graham, what appeals to you about this kind of lyric-writing process that’s different from how you share ideas sonically?
GR: I think generally, my lyrics tend to be really, really simple and not hiding anything. Boone’s lyrics tend to be pretty poetic and metaphorical and stuff, and I think that contrast is pretty interesting. Thematically, it can be cool to pass a song off to somebody else because they might add lyrics in a section that I didn’t even think to add lyrics to, and it opens up a whole new alternate perspective into that theme of the song.
MD: I feel like because we all write separately in our own rooms alone, it feels natural and you can be vulnerable. You can think about what you’re saying or how you’re feeling and then bring it to everyone. Everyone adding from there feels pretty comfortable.
The phrase “gentle like Jesus” from ‘Push You Forever’ somehow feels evocative of the whole album. Not that there’s something overtly religious about it beyond some of the imagery, but this almost spiritual tenderness feels precious to the record.
BP: I think there’s an exploration of spirituality for sure. Without being like, “Oh, this part’s about this thing,” I think it’s all-encompassing.
GR: Obviously, there’s a bit of religious imagery, but I don’t think any one of us is really super religious. But I do think it’s some kind of reflection of where we’re from, in a way. In Texas, at least where I grew up, there’s a church on every corner and you just can’t really avoid that.
BP: It’s baked in, for sure. We’re all steeped in it.
MD: Even outside the religious umbrella, I think there’s overarching elements of grasping for some bigger understanding or bigger picture outside of ourselves.
The record seems to look back on a lot of childhood innocence and playfulness, too. I’m curious if you sometimes talk about lyrics or trade memories that maybe seep into songs.
MD: I would say it’s pretty separate, which is interesting. Once it’s all done, that’s when I can really look at it and be like, “Wow, this is what is being said,” without even really having to look at each other and be like, “This is what we’re talking about.” It just feels pretty intuitive and unspoken.
Boone, I read that stitching together songs took four months. I don’t know how much of it intersected with the recording process, but was it all-consuming and isolating in its own way?
I would say it did feel like a separate time because we had to draw a line in the sand and be like, “Okay, we’re done recording.” We did have to define the time and be like, “It’s time to start mixing it.” But yeah, it was brutal. I really love mixing, it’s one of my favorite things to do. But it can only be so fun because it’s just so much material, and it was also tough to be like, “The mixes are done.” I was just putting it through all the speakers I own and making a bunch of notes and going through rounds of mixing. It’s the same with any mix – eventually, you’re like, “Okay, it sounds good enough.” Once you listen through the whole song without having the urge to pause and start tweaking stuff, it’s like, “I guess it’s done.”
How did everyone else feel during that period?
JG: I just didn’t want Boone to pull his hair out. [laughs] That’s a long process. But obviously, we trusted him to do justice to the songs.
MD: I feel like being in the same house as Boone while he was doing that – he was just locked away in the chamber of mixing.
BP: I also moved back to my mom’s and worked on it for a few months there, too. It was funny because I think they all probably heard the record 300 times. I would mix on monitors mostly, but at my mom’s house, the walls are paper-thin, and anybody in the house would have heard every little aspect of what I was doing. They got to hear it all. But I don’t think it would have made sense to have somebody else mix it, just for the sheer amount of material. It would have just not worked. I remember thinking, why would we have spent this much time learning how to make music and specifically mixing to ultimately get to this point where this record feels something important to us, and then be like, “Now I’m going to send it off to somebody else”? I felt like I’d ironed out these skills, so I might as well put them to use.
Do you feel like that’s the way to go, moving forward?
BP: Sometimes I do listen to the record, and I’m like, “Shit, maybe this mix isn’t so great.” I’ll probably always be doing that, but I don’t know. I think it would just have to be approaching making the songs differently, too, with the idea in mind that somebody else is going to mix it, and that might fuck stuff up. Ideally, we could just keep doing it how we’ve always done it.
This interview has been edited and condensed for clarity and length.
Cass McCombs has returned with his first solo studio album in three years, 
Dijon’s bold, fiery, buoyant new album Baby has arrived, just a week after it was announced. It’s his first album in nearly four years, following Absolutely, though he’s recently contributed to a streams of records including Bon Iver’s SABLE, fABLE, Justin Bieber’s Swag, and Mk.gee’s Two Star & the Dream Police. The record was mostly made at home, in isolation with Dijon’s new family, with help from Andrew Sarlo, Henry Kwapis, and Michael Gordon.
Pile waste no time charging into their ninth album, 
Chance the Rapper has self-released his first LP since 2019’s The Big Day. Crafted with longtime producer DexLvL, 
Anxiety-ridden yet breezy, mathy yet melodic, 
Kaytranada has dropped a new album, 
Fans of Black Country, New Road will find a lot to like on 
