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Viji Unveils Video for New Song ‘Karaoke’

Konstantinos Pappis
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Viji Unveils Video for New Song ‘Karaoke’

Viji has shared a new single, ‘Karaoke’, alongside an accompanying visual. It’s taken from the London-based artist’s debut album So Vanilla, which was led by the song ‘Sedative’ and comes out October 27 via Speedy Wunderground. Check out the Claryn Chong-directed clip below.

“’Karaoke’ is a song that came out of a silly 10 min jam at the end of a writing session,” Viji explained in a statement. “I remember picking up the bass and just riffing with some filthy low-end sounds. Dan (Carey) felt the magic and we recorded 3 or 4 minutes of us going for it, followed by some guide vocals inspired by shouty Japanese punk songs I like. What the lyrics actually turned into is such a time stamp of what I was going through at that very moment.”

“The video is a collaboration with director Claryn Chong, whose made my sexy nightmares come to life,” Viji continued. “As an homage to where the album So Vanilla was recorded, we filmed the video on Streatham high street in London. Speedy Wunderground central!”

Album Review: Vagabon, ‘Sorry I Haven’t Called’

Konstantinos Pappis
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Album Review: Vagabon, ‘Sorry I Haven’t Called’

On her 2019 self-titled album as Vagabon, Laetitia Tamko traded the guitar-based indie rock stylings of 2017’s Infinite Worlds for a world of rich, evocative electronica. More than a sonic departure, though, the album showcased an artist capable of expanding her sound while retaining the tender intimacy of her earlier material, an evolution that continues on her latest effort, Sorry I Haven’t Called. Following the death of her best friend in 2021, Tamko wrote and produced the majority of the record in Germany, where she reconnected with, and sought ways to channel, her love of dance music. The result is the kind of upbeat, vibrant pop record that doesn’t feel detached from grief but creates a comforting space around it, tapping into a whirlwind of emotions without letting them overwhelm. “I don’t think I’m escaping,” Tamko sings on the opening track ‘Can I Talk My Shit?’, which features backing vocals from Julie Byrne, of all people. “I’m going to a place I know.” Around the making of Sorry I Haven’t Called, that place happened to be a dark club where, if you wanted to cry, you could do it in the company of others – and loud music.

While the indie rock songwriting of Vagabon’s debut was often billed as confessional, Tamko is veering away from that description, too, making songs that are emotive and conversational without strictly documenting her personal life. In press materials, she calls the album “completely euphoric,” explaining, “It’s because things were dark that this record is so full of life and energy.” But she still favours honesty, pairing the simple, effective hooks of the record’s first half in particular with clear, direct lyricism: “Can I be honest? I’ve been in the house spinning out,” she admits early on, before opening ‘You Know How’ with the question, “Honestly, how’ve you been?” Tamko allows herself to savour small, unexpected joys rather than letting fear overshadow them, which brings an air of lightness to these songs that feels precious and uncritical. It’s a direction that feels in line with the sophomore album from Arlo Parks or Clairo’s work with Rostam Batmanglij, who co-produced Sorry I Haven’t Called with Tamko in Los Angeles. But this record is also more outwardly sensual than anything on My Soft Machine or Immunity, dipping into sultry R&B on ‘Made Out With Your Best Friend’ in a way that feels genuinely invigorating.

But while the carefree springiness of Tamko’s approach as a whole is refreshing, the album benefits more from the vulnerability and atmospheric textures that seep through its best tracks, from the confrontational ‘Do Your Worst’ to the introspective ‘Autobahn’. Though the exuberance of ‘Lexicon’ is so low-key it almost breezes by without leaving much of an impact or distinctly registering as a Vagabon song, the tracks that follow are more naturally expressive in their arrangement: Jack Mclaine’s synth and drum programming on ‘Passing Me By’ are colourfully layered, and the gentle warmth of ‘Nothing to Lose’ melts away frustration to make way for a big revelation (“I want so much more than I’ve ever asked for before”). ‘It’s a Crisis’ might have quickly sounded stale were it not for Tamko’s subtle synth flourishes and the sudden addition of a saxophone, played by Henry Solomon to haunting effect.

By the time we get to the end, what should be Sorry I Haven’t Called‘s most familiar-sounding moment becomes its most surprising. Closer ‘Anti-Fuck’ calls back to Vagabon’s debut by bringing guitars back to the fore, embracing uncertainty on a record that exudes confidence at every turn. But though not quite “completely euphoric,” you get the sense it’s informed by the energy of the rest of the record, like returning to the same place, after a shitload of change, an entirely different person. You wish the album traced more of that journey instead of hinting at it, but it creates excitement for where Tamko will be taking things next; for a record so assured and hook-focused, it feels weirdly transitional. “Am I wrong to decide the last thing I want/ Is unknown,” she sings, but if the rising wave of distortion is what that space sounds like, who wouldn’t want to stay in it a little longer?

Book Review: Shigeru Kayama’s Godzilla and Godzilla Raids Again

Patrick Galvan
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Book Review: Shigeru Kayama’s Godzilla and Godzilla Raids Again

The making of Ishiro Honda’s 1954 film Godzilla has been extensively documented for English language markets—in books such as Steve Ryfle and Ed Godziszewski’s Ishiro Honda: A Life in Film, from Godzilla to Kurosawa, in Issue #10 of Godziszewski’s magazine Japanese Giants, in bonus features on various home media releases, etc. Through these studies, much attention has been granted to the film’s main creators (director Honda, producer Tomoyuki Tanaka, composer Akira Ifukube, and special effects director Eiji Tsuburaya), though other talents, while frequently acknowledged, haven’t received equal exposure. Among these collaborators is Shigeru Kayama, the prolific science fiction author Tanaka hired to cultivate a narrative from the concept of a monster besieging civilization.

A former economics student and bureaucrat, Kayama (1904-1975) had several poems and fiction pieces to his credit when Tanaka recruited him for Godzilla and throughout the remainder of his life published hundreds of short stories and novels. That said, his international obscurity remains unsurprising: a mere sample of his output’s presently available in English; and while his story established much of Godzilla’s structure and ideas, the actual shooting script was penned by Honda and scenarist Takeo Murata. For all these reasons, he’s remained a marginalized figure in the west, even among entrenched fans of Japanese science fiction.

But now, University of Minnesota Press and translator Jeffrey Angles have delivered a small remedy via the two-novella volume Godzilla and Godzilla Raids Again. Published in Japan in July 1955—shortly after the first Godzilla sequel, Motoyoshi Oda’s Godzilla Raids Again (for which Kayama also penned a foundational story), premiered in theaters—the text consists of Kayama adapting the films, with increments of his imagination sprinkled throughout. In what might be of disappointment to some, the author’s original stories for both projects aren’t included, but his novelizations capture the postwar science fiction framework that made the movies fascinating; and for genre fans there’s the pleasure of seeing familiar material reinterpreted (to varying degrees) by one of Godzilla’s overlooked creators.

Of the two novellas, Godzilla is the most engaging. While the narrative structure remains largely the same, Kayama changes up the dramatis personae and, in some respects, improves upon the film. For all its nightmarish imagery and emotional power, Honda’s Godzilla fell short of masterpiece status due to its prosaic lead, Ogata (played by Akira Takarada, whose truly memorable genre roles emerged when Japanese science fiction flourished in the 1960s). More often a witness to crucial scenes than a dramatic participant, Ogata paled against the conflicted people around him—namely Emiko Yamane and the forlorn Dr. Serizawa, whose trust the former betrayed to save Japan.

In Kayama’s novella, however, Ogata’s demoted to a supporting role, with protagonist reins granted to Shinkichi, the islander orphaned by Godzilla. By placing one of the monster’s victims at center stage, Kayama creates a more engaging hero whose response to continuous assaults on Japan—and whose qualms with hopes of preserving Godzilla for science—emotionally resonate, as there’s personal history involved. The author likewise does a better job emphasizing Shinkichi’s hatred for the monster (a logical character beat that seemed oddly wasted in the movie) and develops a more well-rounded relationship between his hero and Emiko (introducing them as childhood friends who met during a wartime evacuation).

In writing the script for Godzilla, Honda and Murata consciously attenuated Kayama’s political content, which more explicitly indicted the United States and their atomic tests. Allowed to tell the story his way again, Kayama devotes plenty of page space in his novella to Cold War paranoia. Characters speculate early-narrative shipping disasters are the handiwork of “an airplane or a Soviet submarine”; others suggest that, were these calamities the start of a new war, “enemy forces” would be targeting American military craft stationed in Japan. Kayama likewise goes further in detailing social responses to Godzilla; one subplot concerns a cult whose founder deifies the creature and actively torments the monster’s victims. All the while, the author keeps physical descriptions of Godzilla to a minimum (though noting his skin glows from radiation exposure), and admittedly fumbles in contextualizing his behavior.

Godzilla makes a grand reveal gnawing on livestock and plucking a woman from the ground—suggesting his rampages are driven by hunger (as in Kayama’s original story, wherein the beast attacked Tokyo to devour zoo animals and civilians). In the novella, however, this apparent motive’s swiftly abandoned, replaced by the film counterpart’s insatiable urge to destroy. Godzilla’s city rampages feature him vaporizing people rather than devouring them, plowing through buildings instead of scouring for their fleshy occupants; and when confronted by the military he puts up a fight before returning to the ocean. The results combine the best parts of two distinct visions of Godzilla—one as a ravenous carnivore, the other a walking embodiment of destruction—even if his intent becomes muddled along the way.

That said, Kayama retains the most crucial part of Godzilla’s original persona. As one character so eloquently states in both film and book, “Godzilla himself is the hydrogen bomb hanging over Japan right now.” Throughout, the characters compare the creature’s wrath to wartime events such as the atomic bombing of Nagasaki: a metaphor carried along by scenes of radioactive contamination and survivors dying of it. Director Ishiro Honda had witnessed Japan’s devastation returning from war service; and as Kayama admits in his opening prologue, he too felt concern over the proliferation of nuclear technology, fearing that should such weapons be used again “it wouldn’t just be big metropolises like Tokyo and Osaka that would be destroyed. The entire Earth would likely be laid waste.” This passionate stance—this use of monster as metaphor—renders Godzilla both a captivating read and an excellent companion piece to the Honda classic.

Sadly, Godzilla Raids Again, while a diverting piece of entertainment, is weaker on all fronts, taking its source film’s awkwardly structured narrative and doing little to improve upon or even distinguish it. On the positive side: Kayama recycles the movie’s depiction of working-class people rebuilding their lives after a (war-like) calamity and on that level is worth acknowledging as postwar literature; however, the author fails to deepen the characters or remedy narrative mistakes—e.g., introducing the spiky quadruped Anguirus as a rival monster and killing it off well before the drama ends. Changes this time are inconsequential (e.g., Anguirus can shoot atomic rays, but doesn’t use this ability to influence his scenes’ outcome), giving Godzilla Raids Again a coldly predictable feel. Jeffrey Angles’s concluding essay in the book notes that Kayama refused involvement with Godzilla following this project, claiming the monster living on constituted “a tacit approval of the hydrogen bomb.” One also suspects from this slavishly faithful second novella that he’d simply run out of ideas.

The remainder of Angles’s essay is tremendous, packed with details on Kayama’s life and early Godzilla media—including a little-discussed radio adaptation that preceded the 1954 film in release. He also delves into the challenges of converting the original Japanese into English (e.g., excessive onomatopoeias; we learn merimeri, for instance, originally stood in for the sound of crumbling buildings) and throughout the book provides informative footnotes delineating cultural observations and Japanese writing techniques. Notwithstanding one historical error in his essay (claiming Godzilla was the most expensive Japanese film at the time of its release, when its budget in fact was usurped by two other 1954 releases: Akira Kurosawa’s Seven Samurai and Hiroshi Inagaki’s Musashi Miyamoto), Angles’s contributions will be immeasurably useful to those interested in Shigeru Kayama and the beginnings of a pop culture icon. In an age where the vast majority of fandom clamors aggressively for overpriced plastic, Godzilla and Godzilla Raids Again is a treasure not to be missed.

Blink-182 Announce New Album ‘ONE MORE TIME…’

Konstantinos Pappis
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0
Blink-182 Announce New Album ‘ONE MORE TIME…’

The reunited blink-182 lineup of Tom DeLonge, Mark Hoppus, and Travis Barker have announced their new album ONE MORE TIME… The trio’s first album together since 2011’s Neighborhoods will arrive on October 20 via Columbia, and its title track comes out on Thursday (October 21) at 10am ET. Check out a teaser trailer, featuring clips from the band’s upcoming interview with Zane Lowe, below.

Produced by Barker, ONE MORE TIME… was recorded during blink-182’s 2023 reunion tour, which kicked off with a surprise set at Coachella in April. It spans 17 new tracks that “capture the band at the top of their game, layering in themes of tragedy, triumph and most importantly, brotherhood,” according to a press release. So far, they’ve previewed it with the song ‘Edging’, which was released in October.

Following Neighbourhoods, blink-182 made two albums with guitarist Matt Skiba, 2016’s California and 2019’s Nine.

ONE MORE TIME… Tracklist:

1. Anthem Part 3
2. Dance With Me
3. Fell in Love
4. Terrified
5. One More Time
6. More Than You Know
7. Turn This Off!
8. When We Were Young
9. Edging
10. You Don’t Know What You’ve Got
11. Blink Wave
12. Bad News
13. Hurt (Interlude)
14. Turpentine
15. Fuck Face
16. Other Side
17. Childhood

Laura Veirs Announces New Album ‘Phone Orphans’, Shares New Single

Konstantinos Pappis
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Laura Veirs Announces New Album ‘Phone Orphans’, Shares New Single

Portland, OR-based artist Laura Veirs has announced a new album called Phone Orphans. The follow-up to last year’s Found Light comes out November 3 via her own Raven Marching Band Records. Lead single ‘Rocks of Time’, which is out today, “was written about my beloved brother and devoted uncle Scott Veirs,” Veirs explained. Check it out below.

Veirs made the 14-track LP by sorting through 8 years worth of voice memos on her phone. “It feels good, on my 50th birthday and after 30 years of writing songs, to bring these ‘Phone Orphans’ into the light,” Veirs said in a press release. “These songs have been hiding out on my phone, some of them for over eight years. They are about my family, my lovers and me. I recorded them alone in my living room into my voice memo app. I like their relaxed feel. These songs were mastered but we made no edits to the recordings. I hope you enjoy this intimate glimpse into my artistic process. All songs by me except ‘Up is a Nice Place to Be’ by Rosalie Sorrels and ‘The Archers’ with lyrics adapted from a poem by Federico García Lorca.”

Phone Orphans Cover Artwork:

Phone Orphans Tracklist:

1. Creatures of a Day
2. If You Could Hold Someone
3. Rocks of Time
4. Tree Climber
5. Up Is a Nice Place to Be
6. The Archers
7. Tiger Ocean Instrumental
8. Smoke Song
9. Valentine
10. Magnolia Sphere
11. Swan Dive
12. Next One, Maybe
13. Piano Improv
14. Beautiful Dreams

Model/Actriz Release New Single ‘Winnipesaukee’

Konstantinos Pappis
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Model/Actriz Release New Single ‘Winnipesaukee’

Model/Actriz have released a new single, ‘Winnipesaukee’. It follows the band’s debut album Dogsbody, which came out in February. Give it a listen below.

“‘Winnipesaukee’ was among the collection of songs recorded for Dogsbody while working with Seth Manchester at Machines With Magnets in 2021…” frontman Cole Haden explained in a statement. “It’s a mainstay in our live shows, and we still see it as a relevant and poignant companion to the rest of Dogsbody. I initially used the word “Winnipesaukee” (as in the lake in New Hampshire) as a placeholder while writing the lyrics because I knew I needed a single, repeatable, five-syllable, proper noun as the chorus. Although I’ve never been to this lake before, I couldn’t find another word that sounded more right to my ears than ‘Winnipesaukee’, so the place I’m describing in this song is not based in New Hampshire, but instead is a snowy place I was daydreaming about walking across alone.”

This Week’s Best New Songs: Sufjan Stevens, Big Thief, Yumi Zouma, and More

Konstantinos Pappis
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This Week’s Best New Songs: Sufjan Stevens, Big Thief, Yumi Zouma, and More

Throughout the week, we update our Best New Songs playlist with the new releases that caught our attention the most, be it a single leading up to the release of an album or a newly unveiled deep cut. And each Monday, we round up the best new songs released over the past week (the eligibility period begins on Monday and ends Sunday night) in this best new music segment.

On this week’s list, we have Big Thief’s infectious, heartwarming new single ‘Born for Loving You’; Sufjan Stevens’ ‘Will Anybody Ever Love Me?’, in which warm, gloriously enveloping instrumentation provides a home for the song’s titular despair; Yumi Zouma’s dreamy yet propulsive new single ‘KPR’; IAN SWEET’s caustic yet devastating new track ‘Emergency Contact’; ‘I Don’t Like My Mind’, a striking, relatable highlight off Mitski’s seventh album; Wild Nothing’s shimmery new song ‘Suburban Solutions’; and ‘Uh Oh’, a haunting, twitchy preview of Truth Club’s sophomore LP.

Best New Songs: September 18, 2023

Big Thief, ‘Born for Loving You’

Song of the Week: Sufjan Stevens, ‘Will Anybody Ever Love Me?’

Yumi Zouma, ‘KPR’

IAN SWEET, ‘Emergency Contact’

Mitski, ‘I Don’t Like My Mind’

Wild Nothing, ‘Suburban Solutions’

Truth Club, ‘Uh Oh’

Toyland temptations: Exploring pleasure tools in your foreplay

Our Culture Mag & Partners
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Toyland temptations: Exploring pleasure tools in your foreplay

In intimacy, exploration and curiosity have paved the way for couples to expand their horizons and elevate their pleasure. One such avenue of exploration is the world of pleasure tools, also known as adult toys, which have gained popularity as tools that can enhance and intensify foreplay experiences.

This article delves into pleasure tools, exploring how they can add new dimensions to foreplay, encourage communication, and amplify intimacy between partners.

Discovering new sensations: The allure of pleasure tools

Pleasure tools offer many options to introduce new sensations to the foreplay experience. From vibrators, tentacle dildos and massage candles to blindfolds and restraints, these tools create a playground of sensory exploration. Each tool provides a unique touch, temperature, or vibration, allowing couples to discover uncharted territory and break from routine.

For example, consider the use of a feather tickler. The gentle, teasing touch of the feathers against the skin can ignite a cascade of sensations, evoking shivers and anticipation. This exploration of touch adds an element of surprise and heightened arousal to foreplay, encouraging partners to be present in the moment and attuned to each other’s responses.

Communication and consent: The foundation of exploration

Introducing pleasure tools into foreplay underscores the importance of open communication and mutual consent. It’s an opportunity for partners to converse about desires, boundaries, and curiosities. This dialogue creates a safe space for both individuals to articulate their needs without judgment, setting the foundation for a more intimate and satisfying encounter.

When partners explore pleasure tools together, they embark on a journey of mutual understanding and discovery. The process of selecting tools and discussing their use encourages vulnerability and openness. Partners learn to express their desires and preferences, fostering a deeper emotional connection beyond the physical act of intimacy.

Fostering shared exploration: The joy of co-creation

Exploring pleasure tools is not just about the tools themselves but the shared journey of co-creation. As partners navigate the world of toys, they engage in the process of discovering each other’s fantasies and desires. This shared exploration fosters a sense of adventure and trust, creating an atmosphere where both individuals feel valued and understood.

Consider the act of using a couples’ massager. The joint decision to introduce this tool involves a mutual understanding of the sensations it offers and the pleasure it can bring. As partners explore its use together, they co-create an experience that resonates with their unique connection. This shared exploration nurtures a sense of togetherness and deepens the emotional bond between partners.

Enhancing intimacy: The emotional impact

When introduced with care and intention, pleasure tools can have a profound emotional impact on a relationship. They create opportunities for partners to be vulnerable and explore aspects of their desires that may have previously been unspoken. By engaging in open conversations and shared experiences, couples strengthen their emotional connection and foster a more profound sense of intimacy.

Toys like blindfolds and restraints can heighten vulnerability and trust, enhancing the emotional connection between partners. Surrendering control to a partner and placing trust in their hands can lead to a heightened sense of intimacy and a deepened understanding of each other’s boundaries. By venturing into these territories together, couples create memories and experiences that strengthen their bond.

Celebrating individuality: Customizing the experience

One of the remarkable aspects of pleasure tools is their ability to be tailored to individual preferences. From the type of sensation to the intensity of stimulation, these tools offer a customized experience that resonates with each partner’s desires. This personalization ensures that the encounter remains uniquely satisfying and fulfilling.

As couples experiment with different pleasure tools, they uncover what brings them pleasure and fulfillment. This self-discovery enhances individual experiences and contributes to a more harmonious and pleasurable intimate connection. By celebrating each partner’s uniqueness, couples create an atmosphere of acceptance and appreciation beyond intimacy.

Navigating boundaries: Mutual respect and consent

As couples browse anal dildos and navigate the world of pleasure tools, it’s essential to approach boundaries with mutual respect and consent. Pleasure tools can introduce new dynamics and sensations, making it crucial to establish clear boundaries and communicate them openly. These conversations create a framework of safety and trust, ensuring both partners feel comfortable and respected throughout the experience.

Introducing tools like restraints or impact play implements requires a deep understanding of each partner’s limits and desires. Partners must engage in honest discussions, outline boundaries, and continuously check in with each other during the encounter. By prioritizing consent and respecting boundaries, couples create an environment where both individuals can fully immerse themselves in the experience without fear or discomfort.

All in all

The realm of pleasure tools adds a dimension of exploration and excitement to the canvas of intimacy. By introducing these tools into foreplay, couples embark on a journey of shared discovery, communication, and vulnerability. Pleasure tools create opportunities for new sensations, open conversations, and the cultivation of emotional intimacy.

 

As partners venture into this world, they redefine pleasure, deepen their connection, and celebrate the diverse ways intimacy can be experienced. The journey of exploring pleasure tools is a testament to the beauty of shared exploration, communication, and the endless possibilities that await in the realm of intimacy.

The Best Casino Movie Of All Time: Casino (1995)

Abbie Wilson
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The Best Casino Movie Of All Time: Casino (1995)

‘Casino’ is perhaps the best casino movie of all time. The film was already released in 1995, so it is now almost 30 years old. Yet we keep talking about it as it is still popular in many countries around the world, such as Kuwait and the whole Middle East. It is a real crime film, with all the ingredients that a crime film should have: flashy editing, an energetic rhythm, excellent decoration and well-known actors.

At The Casino With Robert De Niro

Casino is a movie by Martin Scorsese, who you probably know from ‘Goodfellas’. Like ‘Goodfellas‘, ‘Casino’ is a movie adaptation of a book by Nicholas Pileggi. It’s about the Italian-American mafia. Robert De Niro plays Ace Rothstein, a charismatic mobster. He works for the mafia and controls a few casinos in Las Vegas. Unfortunately, Rothstein is a bit too charismatic. He falls in love with a call girl (Sharon Stone), which is the beginning of his downfall.

Then his former, murderous buddy (played by Joe Pesci) comes into the picture again. This gets Ace Rothstein even further into trouble. The film is not so much a mafia film, but it is a perfect representation of Las Vegas. The story is based on the life of Frank Rosenthal, who ran several casinos in the service of the mafia in the 1970s and 1980s.

Love Gone Wrong

As soon as Ace falls in love with Ginger, he lets his job at the casino grind to a halt. Previously, he earned a lot of money in the casino, which also made the mafia bosses very satisfied with him. But Ginger is a beautiful lady who will do anything in exchange for money. Ginger is also in love, but not with Ace’s personality. No, Ginger is all about money. With the money, Ace manages to persuade Ginger to get married.

Ginger keeps in touch with her ex-pimp, Lester Diamond. Diamond is addicted to drugs and penniless. That’s why Ace tries to keep Ginger away from him, but it doesn’t work. Meanwhile, the casino is financially collapsing. At one point he is officially kicked out of his casino and the end seems near.

Popular Games Featured In The Movie

Of course, Casino also features the well-known, typical Las Vegas games that are popular around the world, especially in Kuwait. You can’t get around Blackjack or Roulette. Blackjack is not only a popular game in the movie Casino but also in all kinds of other movies. The game is also in other blockbusters, such as License to Kill and 21.

These games are still popular. You play them in a physical casino with a croupier, or in real money online casinos in Kuwait through a video connection. In that respect, the time of gangsters running a casino is long behind us. In Kuwait, online gambling is legalized by offshore gaming agencies. Fortunately, certain elements, such as the exciting atmosphere and attractive decoration, are not just something from the movies.

Conclusion

The movie “Casino” touches its viewers sensitively and profoundly. This fantastic movie brilliantly reflects the tension and excitement that come with the world of gambling. This movie has strong performances from its actors. On top of that, the film’s strong storyline, superb visual rendition, and rare directorial potential all combine to give the best, most vivid portrayal of Las Vegas life at its peak. The horrific and decadent events of “Casino” detail gang life and corruption. In a connected frame, the events of the film also reflect the development of the industry and its impact on traditional games such as blackjack and roulette, which are still popular today in both real and online casinos. As for Kuwait, where casino games are very popular. In short, the film provides an insight into the world of casinos and games that resonate with modern Kuwaiti culture.

The National Release New Album ‘Laugh Track’ Featuring Bon Iver, Phoebe Bridgers, and Rosanne Cash

Konstantinos Pappis
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The National Release New Album ‘Laugh Track’ Featuring Bon Iver, Phoebe Bridgers, and Rosanne Cash

The National have released a new album, Laugh Track, which they announced at their Homecoming music festival on Friday. It was recorded during the same sessions that yielded April’s First Two Pages of Frankenstein and serves as a companion album. Listen to it below.

Laugh Track features guest appearances from Phoebe Bridgers and Rosanne Cash, as well as the Bon Iver collaboration ‘Weird Goodbyes’, which originally came in April 2022. It also includes the recently released singles ‘Space Invaders’ and ‘Alphabet City’.

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