John Davis of Superdrag has released ‘Indifferent Stars’, the latest track from his upcoming solo album JINX. It follows previous cuts ‘The Future’ and ‘Take My Brains Out’. Check it out below.
“This song went through several arrangements on its way to the album, but there were parts of it that I always liked,” Davis shared in a statement. “‘I guess it’s time to let it go, the hate that weighed me down, then disappeared.’ I like that line because it refers to a specific thing, this root of bitterness that wrapped around my heart for 20 years. But when I let it go, it disappeared. That was a big day.”
“We’re excited to share ‘Here Today’ with you – it’s a song we recorded during the Little Rope sessions,” the band said in a press release. “It’s an earnest song about our brief time here on earth, and where to find meaning in it.”
In addition to ‘Here Today’, the expanded album will include the new songs ‘This Time’ and ‘Nothing to Lose’. It also features live and “frayed” versions of tracks on the original tracklist.
Little Rope (Deluxe) Tracklist:
1. Hell
2. Needlessly Wild
3. Say It Like You Mean It
4. Hunt You Down
5. Small Finds
6. Don’t Feel Right
7. Six Mistakes
8. Crusader
9. Dress Yourself
10. Untidy Creature
1. This Time
2. Here Today
3. Nothing to Lose
4. Hell – Live
5. Say It Like You Mean It – Live
6. Needlessly Wild – Live
7. Say It Like You Mean – Frayed Version
8. Hunt You Down – Frayed Version
9. Untidy Creature – Frayed Version
Phil Elverum has announced Night Palace, his first album under the Mount Eerie moniker in five years. It will arrive on November 1 via his own label P.W. Elverum & Sun. The follow-up to 2019’s Lost Wisdom, Pt. 2, a collaborative LP with Julie Doiron, is led by the singles ‘I Walk’ and ‘Broom of Wind’, the latter of which is accompanied by a music video. Check them out below, and scroll down for the album’s cover artwork and tracklist.
Spanning 26 tracks, Night Palace is billed as spiritual sequel to the Microphones’ 2001 classic The Glow pt. 2. “This is a return to the beloved deep analog fuzz world of the Microphones’ the Glow pt. 2 (2001) and the many thickly embroidered Mount Eerie universes that have followed,” a press release explains. “Smashed tape, breathing air organs, crackling tube amps and a welcome living reality just outside the open window all entwine to push the definition of what’s ‘home’ and what’s ‘studio’, of what’s a ‘song’ and what’s at the heart of the unmediated idea itself.”
1. Night Palace
2. Huge Fire
3. Breaths
4. Swallowed Alive
5. My Canopy
6. Broom of Wind
7. I Walk
8. (soft air)
9. Empty Paper Towel Roll
10. Wind & Fog
11. Wind & Fog pt. 2
12. Blurred World
13. I Heard Whales (I Think)
14. I Saw Another Bird
15. I Spoke With A Fish
16. Myths Come True
17. Non-Metaphorical Decolonization
18. November Rain
19. Co-Owner of Trees
20. Myths Come True pt. 2
21. & Sun
22. Writing Poems
23. the Gleam pt. 3
24. Stone Woman Gives Birth To A Child At Night
25. Demolition
26. I Need New Eyes
On ‘37 Push Ups’, a track from Bill Callahan’s third album under the name Smog, the singer-songwriter writes from the perspective of a man who identifies with Travis Bickle – the Taxi Driver protagonist who has become an inspirational archetype for the modern-day “sigma male” – counting reps in a seaside motel as he listens to ‘Highway to Hell’ on a shitty tape. Julius Caesar was the first album Callahan recorded in a professional studio, though you couldn’t necessarily tell from its lo-fi approach. In an interview with The New York Times, MJ Lenderman describes the character as “a kind of blueprint” for the ones he tends to write about. Part of the fascination lies in the ways a certain brand of masculinity continues to permeate and contort itself through (popular) culture, three decades later: ‘Wristwatch’, a highlight from Lenderman’s phenomenal new album Manning Fireworks, can be read as a sketch of an Andrew Tate-type guy whose displays of wealth keep blowing up in his face, accentuating his own lonely despair. A reference to Slade’s ‘Cum on Feel the Noize’ drives the point home. “How many roads must a man walk down ‘til he learns,” Lenderman sings on the single ‘Rudolph’, drawling the final word before delivering one of the record’s definitive punchlines: “He’s just a jerk.”
The Asheville, North Carolina musician may not exactly relate to the pathetic, needy male characters that dot his songs, which often offer a pretty good picture of who we’re dealing with from the very first line – though he’s admitted to having hate-watched enough manosphere-adjacent content to explain why he’s quite well-versed in its language. But his expression of loneliness, shame, and melancholy is earnestly at the heart – and not an entirely separate part – of his songwriting. He’s an expert at blurring those lines. Despite his affability in interviews, it’s still hard to parse how much of the withering emotion on Manning Fireworks is supposed to feel personal – for Lenderman or the listener – and for good reason. The success of the 25-year-old’s 2022 breakthrough solo LP Boat Songs, not to mention the heaps of acclaim lauded at his band Wednesday’s 2023 masterpiece Rat Saw God, has created not only hype but a sense of personality around him that fans can easily to attach to, divorced as it might be from the knowingly questionable nature of his characters. But Lenderman clearly doesn’t want to be pinned down as any type of guy; he distances himself from the associations made in the wake of his last album, for example, by mostly doing away with sports references. Instead, we get images like that of “Lightning McQueen blacked-out at full speed.”
“So far as I can see, nothing good in the world has ever been done by well-rounded people,” the author Harry Crews, one of the biggest inspirations behind Manning Fireworks, once said. “The good work is done by people with jagged, broken edges, because those edges cut things and leave an imprint, a design.” Lenderman has an instinctive way of tapping into this fractured humanity, avoiding both judgment and redemption in his songs – these are scenes, not story arcs. A lot of the time, the tone he ultimately strikes isn’t a sardonic sneer but a kind of empathetic smirk, especially on the more acoustic songs where Karly Hartzman, Wednesday bandleader and Lenderman’s ex-girlfriend, tenderly joins in on vocals, like the opening title track and ‘Rip Torn’. Without the lo-fi charm that marked his earlier work – this is Lenderman’s first studio LP for ANTI- Records – he finds different tools to evoke the brokenness, not water it down so much as give it a particular texture: Landon George’s piercing fiddle on the opener, Shane McCord’s clarinet (“singin’ its lonesome duck walk,” as Lenderman puts it on the devastating ‘You Don’t Know the Shape I’m In’), what’s mysteriously credited as “bass clarinet abuse drone” on the closer, ‘Bark at the Moon’.
Longtime fans should rest assured that Lenderman still likes to accompany the mess his characters are caught up in with guitars that crash, squeal, and tumble over themselves, as already heard on singles like ‘Rudolph’ and ‘She’s Leaving You’. (The penultimate ‘On My Knees’ also boasts a killer guitar solo.) But if Manning Fireworks peaks with those fiery, sneakily anthemic tunes, ‘Bark at the Moon’, which sprawls out to a full ten minutes, is the kind of conclusion that seems to throw everything into the flames. There are certainly moments on the album that burn a little deeper in the real-life context of Lenderman’s recent breakup – Hartzman’s voice repeating the titular refrain at the end of ‘She’s Leaving You’ will always put a knot in my throat – or the placelessness of life on the road (a couple of the songs take place in hotels), but ‘Bark at the Moon’ offers little pretense: it’s clearly him zoning out to the Ozzy Osbourne song of the same name on Guitar Hero, or it used to be him. “You’re in on my bit/ You’re sick of the schtick,” he sings, “Well, what did you expect?” This may not be Lenderman being meta about his own career, though it’s hard not to imagine the ensuing distortion as a way of him wiping the slate clean to make space for whatever comes next.
As much as he’d like to totally shake off the expectations thrust upon him after Boat Songs, Lenderman’s self-awareness peeks through: “I’m speaking in tongues/ Those hiccups won’t quit,” he quips on ‘On My Knees’. Humour is once again on his side – critics have praised his combination of humour and pathos, but sometimes the relationship between the two is usefully subtractive: the humour undercuts the pathos, and vice versa. After all, the line in ‘Joker Lips’ goes, “Please don’t laugh only half of what I said/ Was a joke.” Like many of Lenderman’s songs, ‘On My Knees’ is a portrait of someone – could be anyone, really – hitting rock bottom. There’s certainly truth to the lines “Every day is a miracle/ Not to mention a threat,” even if it hits different knowing his critical status as a hero of the everyday. So Lenderman completes the verse with another joke, too specifically absurd to be expected: “Of bees nests nestled in a hole in the yard/ Of Travolta’s bald head.” Maybe half of what he says on Manning Fireworks is a joke, or the record’s half-full of characters who are the butt of the joke – sometimes that’s us, too – but the music always ends up poignant and incisive. It’s good work, and it cuts right down to the bone.
Montreal quintet Bon Enfant have announced their debut LP, Demande spéciale, and shared its title track. The album is out October 15 via Duprince Records. Check out the new song and find the album cover and tracklist below.
Speaking about the track, the band said:
“Everybody wants / Everybody wants their special request”: it’s true, and Bon Enfant knows it. It’s all well and good to drink in the new stuff, but when it’s time to celebrate, you want to stick to the tried-and-true, the stuff that inevitably galvanises you. With its invigorating, energetic rock vibe, Demande spéciale evokes, through its sharp guitars, bouncy keyboards and diligent tempo, all the feverishness we feel when we make up our minds and go to the disc jockey and say: “Could you play […]” – to the point where we’re sometimes so into the process that we end up with a not-so-worst landing. A tribute to the DJs who are willing to play them, as well as to the music that propels us forward rather than nostalgically, Demande spéciale is the eponymous track on Bon Enfant’s 3rd album, a reminder of those “parties that don’t want to die”
Recorded by Samuel Gemme, Warren C. Spicer, and Guillaume Chiasson, Demande spéciale was mixed by Chiasson and produced by Emmanuel Éthier. Following 2019’s Bon Enfant and 2021’s Diorama, the record features contributions from Jean-Étienne Collin-Marcoux, Jérôme Dupuis-Cloutier, and Naomie Delorimier.
Demande spéciale Cover Artwork:
Demande spéciale Tracklist:
1. Trompe-l’œil
2. Demande spéciale
3. Sous-marine
4. Oiseau rare
5. Minimum
6. Passion rock
7. Enfant de l’air
8. Bouquet
9. Aire de plastique
10. Entre le rouge et le vert
11. Gardienne de nuit
12. Décollage
In today’s era of technology and connectivity, the way we approach making new connections has significantly shifted. Random video chats through platforms like OMGFun have transformed into a space for people seeking to broaden their social networks while staying within the confines of their homes. This trend unites individuals from backgrounds worldwide and effortlessly transforms strangers into companions with just a few simple clicks.
The Allure of Random Video Chats
Video chats that happen randomly bring a mix of thrill and curiosity of an online version of a masquerade ball nowadays. It’s always a surprise who you might encounter next. Whether it’s someone from away lands, nearby neighborhoods, or just around the corner in your city, this unpredictability makes random video chats captivating and keeps you coming for more.
How It Works: The Technology Behind the Screen
The systems behind these platforms are advanced as they utilize algorithms to pair up users effectively. Participants are randomly linked together. You can skip and connect with someone else if the conversation doesn’t flow smoothly. This instant connection makes the platform so user-friendly and appealing to people of all ages.
Safety First: Navigating Random Chats Securely
Engaging in video chats can be exciting; however, it’s important to use these platforms cautiously and prioritize privacy and security above all else. Some platforms provide interaction options to protect users’ personal information and enhance safety measures.
The Benefits of Random Video Chats
Cultural Exchange
One of the things about spontaneous video chats is the chance for cultural sharing and learning experiences among users. Users can explore diverse ways of living and thinking in a way that expands their perspectives and knowledge of the world.
Emotional Connectivity
During a period when isolation and solitude are often issues for many individuals at this time of their lives, these platforms offer a way to connect emotionally with others who share the same sentiments, offering comfort and support to those in need of companionship and solace to cope with feelings of isolation and mental health challenges such as loneliness and sadness.
Networking and Professional Opportunities
Video calls out of the blue aren’t just for chatting. They can also serve as valuable networking resources for professionals looking to link up with colleagues in their field to exchange ideas and stumble upon career prospects.
The Fun Side: Games and Activities
Many video chat apps have games and activities that allow users to play together to kick things off and create a fun atmosphere. These engaging activities range from quizzes to drawing games and enhance the overall interaction experience.
Making Lasting Friendships
Although the interactions are short-lived, numerous individuals discover themselves forging enduring bonds. Shared interests and heartfelt dialogues frequently form the basis for a relationship that transcends boundaries.
The Role of Random Video Chats in Modern Society
In today’s moving world, spontaneous video conversations act as a connection point between conventional social engagements and the online domain. They represent a rising pattern towards lively and adaptable ways of communication appealing to a demographic that appreciates both privacy and immediate connection.
Challenges and Considerations
While engaging in video conversations brings many advantages, it also presents certain hurdles to overcome. Matters like conduct or worries about data protection carry weighty importance in these scenarios. It is crucial for individuals to tread cautiously in environments by utilizing the privacy features and reporting mechanisms offered by the respective platforms.
Video calls with strangers go beyond digital novelty. They play a lively role in contemporary social engagement by providing enjoyment and chances for friendship and learning experiences. They serve as a reminder that in today’s era, making meaningful connections is within reach with just a click of a button, enabling the conversion of a chance meeting into a lasting bond. Welcome the thrill of connecting with individuals worldwide. You never know who your subsequent encounter could be!
Tomo Katsurada, founder and lead singer of the psychedelic band Kikagaku Moyo, has announced a new solo EP. The Japanese artist recently launched his Future Days concept store in Amsterdam, where he is currently based, and the new EP Dream of the Egg – out November 15 – marks its first release. It’s led by the single ‘Zen Bungalow’, which is a cover of Gabriel Yared’s ‘Bungalow Zen’, from the soundtrack of the 1986 film Betty Blue 37°2 Le Mati. Check it out below.
Inspired by the Japanese 1920s children’s book Yume No Tamago (Dream of the Egg), the project sees Katsurada collaborating with Japanese visual artist Shoko Otake. The first in a series of five records, the EP features contributions from guitarist Jonny Nash.
Kikagaku Moyo’s final album, Kumoyo Island, came out in 2022.
Dream of the Egg EP Cover Artwork:
Dream of the Egg EP Tracklist:
1. Moshimo
2. Zen Bungalow
3. Interlude
4. Inner Garden
5. Dream of the Egg
Danielle Moore, lead singer and frontwoman of the electronic group Crazy P, has died at the age of 52. In a statement posted to Instagram, the band confirmed that she had died in “sudden and tragic circumstances” on August 30.
“We cannot believe the news ourselves and we know it will be the same for all of you,” they wrote. “She gave us so much and we love her so much. Our hearts are broken. We need time to process that this has happened. Danielle lived a life driven by love, compassion, community and music. She lived the biggest of lives. We will miss her with all our hearts.”
Chris Todd and Jim Baron formed Crazy P (formerly known as Crazy Penis) after meeting at the University of Nottingham in 1995. Bringing together elements of soul, disco, and house music, the outfit caught the attention of Manchester label Paper Recordings and released their debut album, A Nice Hot Bath With…, in 1999. In 2002, the band’s lineup expanded with the addition of Moore, bassist Tim Davies, and percussionist Mav Kendricks, and they went on to release seven more studio LPs.
Raised in Manchester, Moore was one of the most acclaimed vocalists in the UK dance music scene, and also worked as a solo DJ. “Performing is everything,” she is quoted as saying in a press bio. “When I’m performing, I feel like I’ve stepped into my alter ego and am able to take on any mood. It’s very empowering to become detached from my own slightly vulnerable self.”
In an interview with Disco Pogo last year, Moore said: “I’m 52 this year, and I sometimes find myself up against the idea that I’m not ‘steady’ or ‘settled’. I’ve experienced more than a few raised eyebrows. But I know I’m so lucky with my life. Would I swap those travels and memories and music for anything? Would I fuck!”
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 the Smile’s jittery, kinetic ‘Zero Sum’, one of two new songs from their just-announced second album of 2024; Tucker Zimmerman’s pensive, wonderful ‘Burial at Sea’, which leads the folk veteran’s new album Dance of Love, featuring and produced by Big Thief; Adeline Hotel’s delicate, entrancing new single ‘Grief’; Godspeed You! Black Emperor’s sweepingly devastating ‘GREY RUBBLE – GREEN SHOOTS’, the first single from their new LP “NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD”; Allegra Krieger’s striking, climactic new track ‘Came’; ‘Joy’, the stirring emotional centerpiece of Nick Cave and the Bad Seeds’ new album; Eiza McLamb’s earnest, yearning country ballad ‘God Take Me Out of LA’; and ‘Every Dog’, the stunning lead single and title track off New York City-based singer-songwriter allie’s sophomore full-length.
Duqingna is a remarkable classical singer whose journey into the world of music is deeply rooted in her Mongolian heritage and early exposure to traditional Chinese music. From a young age, it was evident that she possessed an innate talent for melody and rhythm, a gift that was further nurtured by her rich cultural background.
As an ethnic Mongolian from Inner Mongolia, China, Duqingna was surrounded by a community that excelled in singing and dancing, where music was an integral part of daily life. This environment, coupled with her early training in traditional Chinese instruments, laid a strong foundation for her musical abilities. Her natural talent for singing was recognized early on by those around her, leading her to explore this path more seriously.
Duqingna’s first major experience in the United States was in 2021, when she was invited to perform in the “Gloria In Excelsis Deo Christmas Concert.” This opportunity was particularly memorable as it was her first time being invited to sing at an American concert. The invitation marked a significant milestone in her career, instilling in her a sense of responsibility and pride.
After she’s well known in the classical music circle, she was once again invited by the same director to perform at the “A Dialogue for Peace,” this time requested to sing a Chinese song, “Jasmine Flower,” with a choir. This invitation not only allowed her to share Chinese culture with a new audience but also highlighted her growing reputation as a versatile and culturally connected artist.
In 2023, Duqingna participated in the Trentino Music Festival, where she was initially assigned the role of the First Spirit in Mozart’s opera “Die Zauberflöte” (The Magic Flute). However, due to a misunderstanding, she mistakenly prepared for a different role. Faced with the challenge of learning a new role in just two days, Duqingna surprised herself by successfully mastering the First Spirit’s part in German, a language she had only recently begun to study. This experience revealed to her the power of determination and the ability to push beyond perceived limits.
Throughout her studies, Duqingna was mentored by Neil Rosenshein, a teacher who played a crucial role in shaping her vocal technique. His personalized approach to teaching, which catered to her unique vocal characteristics and personality, ensured that Duqingna received the guidance she needed without developing bad habits. His method of pushing her to tackle her weaknesses while providing supportive and tailored instruction was instrumental in her development as a classical singer.
Duqingna draws inspiration from renowned lyrical sopranos such as Renée Fleming and Maria Callas. She admires Fleming for her emotional depth, traits that Duqingna aspires to embody in her performances. Looking ahead, Duqingna envisions a career that continues to blend performance with education. She hopes to further refine her vocal technique and receive more invitations to perform, while also contributing to the field of music education.
