Home Blog Page 574

Artist Spotlight: ME REX

Based between London and Brighton, ME REX started out the solo project of songwriter Myles McCabe and has since expanded into a trio with the addition of Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). As a full band, the band released the double EP Triceratops/Stegosaurus via the UK label Big Scary Monsters in late 2020, and followed it up a year later with Megabear, a uniquely ambitious and immersive 52-track collection meant to be played in shuffle mode. Another compelling pair of EPs, Plesiosaur and Plesiosaur, came out in 2022, when ME REX were prepping what’s billed as their debut album proper, Giant Elk. Despite being recorded at four different studios, with the band having limited time to practice the material before laying it down, the songs cohere into a cathartic, fully-realized work whose cyclical structure mirrors the narrative that unfolds – one of growth through loss, loneliness and unity. Bound up in metaphor, the details may be hard to pin down and are open to interpretation, but the story resonates more than it confounds, and the music reaches new peaks of sweeping catharsis. The backdrop may always be one of impending collapse, but as ME REX put it on the closer, ‘Summer Brevis’,  there’s still “a little bliss and ecstasy yet to squeeze out of the days we have left.”

We caught up with ME REX’s Myles McCabe and Phoebe Cross for the latest edition of our Artist Spotlight series to talk about the journey behind Giant Elk, the mythology around the album, and more.


You put out two doubles EPs and the Megabear project before Giant Elk. When did you realize this collection was shaping up to be a full-length record, and what did that affect the way you approached it?

Myles McCabe: It was a real journey with this one. There were times when we were like, “Oh god, it’s taking so long, we’re not gonna have time to finish it.” It kind of put itself together in a way, in the sense that, we have a concept for what the next record is going to be, but it’s a bit of an ambitious one, so we knew that we would have to put something out in the meantime. We looked at re-recording the EPs that I made before Rich and Phoebe were in the band and reinterpreting those songs. I was like, I’ll write something else that fits in with the context of those songs and very much sits within the themes of those records. So ‘Python’ came – I believe that was the first one. But then writing from that position, a couple of more songs came, and then another one and another one, and at that point made more sense for it to be a full-length record. The songs kept on coming, and it got to the point where they were actually pushing the older ones out as well because I was writing songs, bringing them to the band, and we were completing them together. The new songs that were coming were very much in that world, and for me, it began to take the shape of this sort of narrative – but even then, that in my mind is this very amorphous, loose, shifting thing. I don’t know if you could call it a story, exactly, but a narrative certainly.

How much do you still see that narrative as an extension of the mythology of your previous work, and how much do you feel like it’s moving forward from it? Does mythology feel like the right word for it?

MM: I think of it very much as sitting in the same world. I like to think of it in comparison to Discworld, if you’re familiar with Terry Pratchett – the way that you’ve got all these different stories but they take place in the same universe and there’s crossover between them and there are different throughlines as well. I think mythology is a good way of putting it, because you have these perspectives that maybe shift around, or you have characters who appear as one thing and then somewhere else may occupy the same sort of space but arrive in a very different way, and are communicating, in a sort of transrational sense, something outside of that. Someone actually compared Megabear to Finnegans Wake, this book that’s pretty much incomprehensible, but you have, from what I could glean from the introduction, the same few stories that are told over and over again in different ways, using language very differently, using characters that represent the same things each time the story is told, but the characters change, the language changes, the perspective changes, the meaning changes. That’s in a sense how I approach interpreting something like Giant Elk.

Phoebe Cross: Is that what you were reading on tour once?

MM: I definitely brought it with me on one of the shows or festivals or something.

PC: You’re so mysterious, because I’ve never seen you read, but I feel like you read a lot.

MM: [laughs] I certainly like to give that impression.

Is that narrative framework something you discuss as a band?

MM: We actually had a bit of a moment when I tried to discuss what the album was about, and everyone was like, “What are you talking about?”

PC: I was like, “What are you talking about, worms? I’ve interpreted the whole thing wrong!” [laughs]

MM: The way that I like to approach this kind of thing is that everyone’s interpretation is just as valid as anyone else’s, including myself. So I don’t like to be too prescriptive about meaning or interpretation, but when it came to preparing the release, we got a question: So what is the album about? I wrote out this long thing, saying, well, it’s about the worm who’s split in half, but that happens cyclically and infinitely – but they’re not worms, but they’re people, but it’s me, but it’s not me. It was this long explanation of this thing that is very abstract in my own understanding and is really, to me, just an interpretation of what is on the record. It’s something I struggle a little bit with when it comes to this thing of having to define and nail down a meaning, because then I feel like you’re cutting away at all of the other possible interpretations. By saying it means this, you’re saying doesn’t mean that. Also, I have the belief as well that you can write things that you don’t know are in there, so to say it’s about this, I am potentially selling short my own understanding of the piece.

PC: I posted on one of our stories today that it’s not our album anymore, it’s yours. It’s like, “There you go, world, what do you make of this?”

MM: As soon as the vibration leaves the speaker, it’s yours to do with what you will.

Phoebe, how did your own vision or understanding of the record develop over time?

PC: This is the most collaborative we’ve probably ever written together, so it was lovely getting in the rehearsal studio, and depending on what mood I was in, the songs became different. I think the drums speak a lot and give a lot of energy or less energy depending on you know how it’s going that day, so some some of the drumming ideas I had really stuck. Just because the other two were like, “Keep going like that,” it was quite nice to be like, “Alright, I’ll do this drum pattern,” and it can completely change how a song feels. It’s just been lovely watching it grow that way. It really felt like quite an emotional album to be a part of for me.

The opener, ‘Slow Worm’, provides a kind of thesis for the album: “Everything that comes together will eventually divide.” What drew you to that idea, especially as a starting point for Giant Elk?

MM: I think central to it for me is a grief metaphor. A lot of the stuff that I’ve written in the last couple of years has been touched by the fact that I lost my dad in 2020, and coming to an understanding of what grief is. To me, that metaphor of the worm being cut, losing a part of itself but growing into a new creature – everything that comes together will eventually divide, and then divide and divide and divide again, and in that way, multiply and continue and become whole.

PC: I have such an image of cells. I don’t know if it’s because I did a biology degree, but I just realize how much I have that in my head when you’re singing it: the beginning of life, but I suppose also things like cancer, things dividing wrong. It’s life and death, innit?

MM: [referencing a lyric from the song ‘Python’] It’s not life and/or death anymore. But yeah, exactly, that is an image as well that has occurred to me. The idea of evolution as well and dividing out down through generations, splitting and changing and diversifying and becoming this huge breadth of living things.

This idea of a huge mass of living things serving as the narrator was part of what drew me to Giant Elk, and it’s what made ‘Spiders’ stand out as being quite personal, because it doesn’t center around a “we” the way most of the songs here do.

MM: Interestingly, that’s the first song that I ever wrote as ME REX. That one’s really old, and it set the tone, certainly for those early EPs, and by extension for all the recent songs. So in a way, it’s all building into the world of that song.

Do you see it differently now it exists as part of that world?

Yeah, absolutely. If you’re the same person that you were a decade-ish ago, you’re doing something wrong. [laughs] So I almost see that person as a character within this world, and I look at that person with more compassion now and a little bit more understanding than I would have looked at myself at the time when I wrote. I suppose in a way it’s sort of a dialogue with that person, the newer songs.

Do you have any favorite memories of recording the album?

MM: There were definitely times in rehearsal, particularly as it was getting to the crunch where I had not finished writing my part for the songs and we had the dates in and we had to record – I don’t particularly write well under pressure, but playing, for example, ‘Summer Brevis’ together, they both really changed that up. Phoebe, for example, was like, “Let’s just slow it down.”

PC: We slowed it down, did we?

MM: Yeah, we massively slowed it down.

PC: I’ve been having such a Big Thief moment for years now, but I’d watched a lot of [James Krivchenia] lately, and that drum part I really wanted to do.

MM: It just completely landed, and the song took on a completely different character from that point. It makes much more sense as an ending song.

Could you share one thing that inspires you about each other, as musicians or just friends?

MM: I’ve got quite a lot that inspires me about about Phoebe and Rich.

PV: Aw, go ahead. [laughs]

MM: With Phoebe, it’s a very specific kind of optimism and a very genuine positivity, very much seeing the best in people. Rich is kind of the rock of the band. He very much holds us together, and he has such an eye and ear for detail and quality, for things that work and things that could be adjusted. I could go on all night about them.

PC: That’s so sweet. Obviously, Myles, I love your lyrics and musicianship. I was listening to Miles before I was even in a band with him. Whenever a ME REX gig was happening in London, I’d try and get down to it, so I was already a big fan of Myles, and I’m glad he let me be in his band and do all these things for the last – it feels like we’ve been doing this for quite a while now as a full band. But Myles has got this quiet determination about him as well – nothing seems to faze him. Me and Rich are hard-wired to be a bit more nervous and anxious, but Myles is quite a solid – a rock in a different way, you know. I think you need that in a band.


This interview has been edited and condensed for clarity and length.

ME REX’s Giant Elk is out now via Big Scary Monsters.

The Beatles Announce Final Song ‘Now and Then’, Out Next Week

The Beatles’ final song is coming out next week. ‘Now and Then’ is set to arrive on November 2 at 10am ET (via Apple Corps Ltd./Capitol/UMe) and will be available digitally and as a double A-side single. A 12-minute documentary telling the story behind the track, written and directed by Oliver Murray, will premiere on November 1 at 3:30pm EDT. Watch a trailer for it below.

‘Now and Then’ originated as a demo that John Lennon recorded at his home in New York’s Dakota Building in 1978, featuring just Lennon’s voice and piano. In 1994, Yoko Ono gave the recording to McCartney, George Harrison, and Ringo Starr, along with Lennon’s demos for ‘Free as a Bird’ and ‘Real Love’. The remaining Beatles members attempted to finish ‘Now and Then’ with producer Jeff Lynne for The Beatles Anthology, but at that time, technological limitations prevented them from properly isolating Lennon’s vocals from the piano. In 2022, McCartney and Starr set out to complete the song after working with director Peter Jackson on his Get Back documentary. Jackson and his sound team, led by Emile de la Rey, were able to isolate Lennon’s vocals from the original home demo with the help of artificial intelligence.

In addition to Lennon’s vocal, the song features electric and acoustic guitar recorded in 1995 by Harrison, Starr’s new drum part, and bass, guitar, and piano from McCartney, who also added a slide guitar solo inspired by Harrison. The track comes with original cover art by Ed Ruscha.

“There it was, John’s voice, crystal clear,” McCartney said in a press release. “It’s quite emotional. And we all play on it, it’s a genuine Beatles recording. In 2023 to still be working on Beatles music, and about to release a new song the public haven’t heard, I think it’s an exciting thing.”

Starr added: “It was the closest we’ll ever come to having him back in the room, so it was very emotional for all of us. It was like John was there, you know. It’s far out.”

George Harrison’s widow, Olivia, wrote: “Back in 1995, after several days in the studio working on the track, George felt the technical issues with the demo were insurmountable and concluded that it was not possible to finish the track to a high enough standard. If he were here today, Dhani and I know he would have whole-heartedly joined Paul and Ringo in completing the recording of ‘Now and Then’.”

And John Lennon’s son Sean Ono Lennon commented: “It was incredibly touching to hear them working together after all the years that Dad had been gone. It’s the last song my dad, Paul, George and Ringo got to make together. It’s like a time capsule and all feels very meant to be.”

In addition to the release of ‘Now and Then’, expanded reissues of 1962-1966 (The Red Album) and 1967-1970 (The Blue Album) will be released November 10 with expanded tracklists. All the songs have been mixed in stereo and Dolby Atmos.

bar italia Share Video for New Single ‘worlds greatest emoter’

0

bar italia have shared a new single, ‘worlds greatest emoter’, taken from their upcoming second LP of 2023, The Twits. The track follows previous entries ‘my little tony’ and ‘Jelsy’ and comes with an accompanying video, which you can check out below.

The Twits, the follow-up to May’s Tracey Denim, is set to arrive on November 3 via Matador.

Album Review: Blink-182, ‘ONE MORE TIME…’

What does Blink-182 have to prove in 2023? Near the end of their new album ONE MORE TIME…, Tom DeLonge broadens the question further: “2023, who the fuck are we?” Twelve years since they last released an LP with the classic lineup of DeLonge, bassist Mark Hoppus, and drummer Travis Barker, they know they’re not the same group yet are all too aware of their legacy and place as elder statesmen of a genre they not only helped create but that’s entered back into the cultural mainstream (thanks in part to Barker’s role as hip-hop’s favorite drummer). The new record doesn’t try to stake their claim or push pop-punk forward in any significant way, which has the positive effect of not sounding self-serious or overly precious. At best, it captures the pure joy of three friends having fun making the sort of music that propelled them to stardom while acknowledging the challenges they’ve faced along the way, namely Hoppus’ recent battle with cancer and the 2008 plane crash that nearly killed Barker. But despite the growth they’ve experienced and display on ONE MORE TIME…, and as earned as the sentimentality feels, the trio lean so hard on nostalgia that they neglect to answer the question they ultimately direct towards everyone.

One way this nostalgia manifests is through references to the band’s past work, which some fans will find exhausting and uninspired. For others, it’s the thing that will draw them into it. On an album that reaches for the anthemic more than the personal, ‘You Don’t Know What You’ve Got’ sees Hoppus opening up about his diagnosis in relatively grim detail (“Long weeks of impending doom/ Stuck in life’s waiting room”), but it stumbles in combining the haunting echo of ‘Adam’s Song’ with a more spirited chorus. ‘Anthem Part 3’ calls back to 2001’s ‘Anthem Part Two’ and 1999’s ‘Anthem’, but it’s more focused on simply completing the trilogy than adding anything of value beyond serving as a musically satisfying intro. Even paying homage to their 2004 smash ‘I Miss You’ as the title track draws to a close, heartfelt as it may be, sounds obvious and obligatory. “My old shit ends here tonight,” DeLonge and Hoppus declare early on, but ONE MORE TIME… is all about the old shit.

That’s not necessarily a bad thing, but the music is too clean to embrace the messiness that comes with trying to grow up without distancing themselves from the adolescent impulses that fired up their early output. Existential despair and juvenile humour go toe to toe, and while sometimes the band strikes just the right balance (‘Turpentine’), it’s mostly a mixed bag – a song titled ‘Edging’ that includes the line (“She tried to pray it away, so I fucked her in church”) wouldn’t work in any context, but certainly not sandwiched between two of the record’s most earnest cuts. One of those is ‘When We Were Young’, which shares its name with the emo nostalgia-fest that Blink-182 just headlined and would have made for a rousing sing-along if the chorus wasn’t so lyrically clunky (“Nothing’s too fast cause we explode together”). The album is overstuffed at 17 tracks, and it sounds less like Blink-182 have a lot to say than trying many different ways to say the same thing. However palpable the chemistry still is – and noticeably elevated rather than watered down by Baker’s crisp production – the songs are too cloying and by-the-numbers to stir up too much new excitement.

Maybe you wish the band would transfer some of the raw, youthful energy of the interludes onto the rest of ONE MORE TIME…, as they effectively do on ‘Dance With Me’. Or maybe you wish there were more songs like new wave-inspired ‘Blink Wav’, which is a more invigorating tribute to their influences than the song that actually interpolates the Cure’s ‘Close to Me’, ‘Fell in Love’. But that’s not the album Blink-182 intended or have made. The song that comes closest to encapsulating it is in fact the title track, an acoustic ballad that references the band members’ near-death experiences yet sounds stripped of all its power. You don’t doubt the emotion when DeLonge sings, “Do I have to die to make you miss me?”, and you never question what it’s taken for the band to get back together. But its adherence to a certain formula leaves you feeling, like much of the record, that it’s meant to soundtrack their lives instead of really capturing them. Even in its immature moments, it’s all a lot little too neat and almost cinematic. There’s nothing wrong with looking back on and honouring the past, but that’s only one way to go about it.

The National’s Matt Berninger Joins Wilderado on New Version of ‘In Between’

0

Wilderado have shared a new version of their latest single ‘In Between’ featuring Matt Berninger of the National. The track was recorded in Norman, Oklahoma with producers Chad Copelin and James McAlister. Check it out below.

“Matt is one of my favorite lyricists and singers of all time, plus he’s in one of the coolest bands ever,” the band’s Max Rainer said in a statement. “We’re incredibly grateful and honored to feature him on this track.”

Wilderado released their self-titled debut album in October 2021.

BIFA Announce List for Netflix’s Breakthrough Performance Award

0

BIFA (British Independent Film Awards) has announced the longlist for Netflix’s Breakthrough Performance Award. Known for spotting tomorrow’s stars today, the highly anticipated longlist for 2023 features outstanding performances from some of the most talked about independent films in the UK. This category has been nominated and won by Ben Whishaw, Jamie Bell, Naomi Ackie, Hayley Atwell, John Boyega, Florence Pugh, Chiwetel Ejiofor and Letitia Wright in the past.

BIFA will launch a development and support programme for performers longlisted in this category in partnership with We Are Bridge. Founded in 2018, We Are Bridge began as an aftercare programme for the cast of Rocks, led by a collective of filmmakers behind the BIFA and BAFTA-winning film. WAB has evolved into a leading industry body dedicated to preserving new and emerging talent’s legacy in the years since.

As part of the six-month programme, participants will receive career development, well-being, casting, financial literacy, and networking opportunities. A safeguarding industry training session will also be presented to help those looking after new on-screen talent.

The final five nominees will be announced Thursday, 2 November. Winners will be revealed at the 26th BIFA ceremony on Sunday, 3 December.

Breakthrough Performance sponsored by Netflix

  • JOE ANDERS Bonus Track
  • JEDAIAH BANNERMAN The Kitchen
  • LE’SHANTEY BONSU Girl
  • LOLA CAMPBELL Scrapper
  • CARLY-SOPHIA DAVIES The Eternal Daughter
  • DAVID JONSSON Rye Lane
  • PRIYA KANSARA Polite Society
  • MIA MCKENNA BRUCE How to Have Sex
  • KEENAN MUNN-FRANCIS Black Dog
  • TEMILOLA OLATUNBOSUN Pretty Red Dress
  • VIVIAN OPARAH Rye Lane
  • SAMUEL SMALL Bonus Track
  • FREDDY SMITH Suicide Kelly
  • DAVE TURNER The Old Oak
  • ALIN UZUN Scrapper

Paris on the Silver Screen: Famous Film Locations in the French Capital

Paris has a certain je ne sais quoi that’s earned it the reputation of being one of the most romantic cities in the world. It’s a reputation that has piqued the interest of filmmakers for decades, starting from the days of black and white cinematography right up to the present day.

When you visit Paris, you may experience inexplicable sensations of deja vu even though you’ve never been there before. No, it won’t be the memories of a past life coming back to haunt you. It’ll be because you’ll have seen that same spot you’re standing in as the backdrop in a movie scene.

Producers and directors haven’t just fallen for the romantic allure of Paris, though. They’ve used the city as a filming location in many of the biggest blockbusting action and thriller movies of the past twenty years. Dedicated cinephiles and filmmakers on their way to Paris should definitely make sure they don’t miss out on visiting any of the following famous film locations in Paris. It won’t be a Mission Impossible, and that’s for sure.

As you plan your itinerary full of Paris movie locations, make sure you also have a plan for your luggage. Bounce luggage lockers are conveniently located all over Paris to help you worry less about your luggage and focus more on your film tour.

So where are the famous film locations in Paris?

Champs-Élysées

The Champs-Élysées is a broad, tree-lined mile and a quarter-long avenue in the center of Paris with the Arc de Triomphe at one end and the Place de la Concorde at the other. While it’s world-renowned for its surplus of designer stores, take a stroll along it, and you’ll be following the footsteps of some of the top A-list actors.

Films with scenes shot on the Champs-Élysées include:-

  • 2008 – Taken, starring Liam Neeson
  • 2018 – Mission Impossible Fallout, starring Tom Cruise, shut down the city traffic to film scenes at the Arc de Triomphe.
  • 2006 – The Devil Wears Prada, starring Meryl Streep, filmed scenes at the Fountain des Fleuves in the Place de la Concorde.

The Louvre

The Louvre Museum is one of the most prestigious art museums in the world. Housed in the enormous and very grandiose Louvre Palace, the museum is home to such outstanding works of art as the Mona Lisa and the Venus de Milo. More outstanding for any cinephile than any artwork the museum may contain is the museum’s iconic and instantly recognizable glass pyramid in the Napoleon Courtyard.

Films that have been shot at the Louvre are from diverse genres and include:

  • 2006 – The Da Vinci Code, starring Tom Hanks, shot scenes inside the museum and in the courtyard in front of the pyramid.
  • 2017 – Wonder Woman with Gal Gadot in the lead role.
  • 2011 – Monte Carlo, a comedy, starring Selena Gomez, Leighton Meester, and Kate Cassidy, saw the three protagonists race through the museum.

The Eiffel Tower

There is no structure more iconically associated with Paris than the Eiffel Tower. Including a shot of the 300-meter high tower in the opening scene of a movie instantly lets the audience know where some, if not all, of the film, will be taking place.

During its lengthy film history, actors have scaled the tower, dined in its restaurants, and danced and crooned on its observation deck. The tower has also been cinematically destroyed by monsters or other means more than a few times.

The wrought iron tower has been seen in romance, action, musical, animation, and every other genre of film in between. The Eiffel Tower is, without a doubt, the most used and represented film location in Paris.

There have been far too many films made on, in, or showing the Eiffel Tower to mention them all by name, but here are a few to give you a general idea:

  • 1957 – Funny Face, starring Fred Astaire and Audrey Hepburn, who sang and danced on the deck.
  • 1965 – The Great Race, a film in which the protagonist destroyed the tower with a cannon.
  • 1967 – King Kong Escapes. King Kong fights off a robot gorilla in front of the tower.
  • 1985 – National Lampoon European Vacation contains comedy scenes on the observation deck.
  • 1985 – A View To Kill, where Roger Moore as James Bond fights off his arch enemy.
  • 2007 – Ratatouille, a Pixar movie where a rat takes over the tower restaurant.
  • 2011 – Hugo, a film directed by Martin Scorsese about a child clock repairer.

Jardin du Palais Royal

The gardens of the Royal Palace in Paris have served as a scenic backdrop for quite a few scenes in well-known feature films. The manicured grounds with their statues and fountains, the facade of the palace itself, and the unique striped column sculpture have all played leading roles as filming locations. They proved photogenic enough to capture the imagination of directors like Woody Allen and Christopher McQuarrie.

Films in which you’ll catch glimpses of the Royal Palace Gardens include:

  • 2011 – Midnight in Paris, starring Owen Wilson and directed by Woody Allen.
  • 2018 – Mission Impossible Fallout.
  • 2010 – The Tourist with Johnny Depp and Angeline Jolie.
  • 2018 – Season 1 of Killing Eve, the hit TV show, also featured the gardens in episode 1.

Gare du Nord

The Gare du Nord is one of the biggest train stations in Paris and one that has made its presence felt on screen on several occasions. Although, admittedly, some of those appearances are more memorable than others. The majestic, palace-style station always does itself justice on screen, no matter how bad the script is.

Good films featuring the Gare du Nord in Paris include:

  • 2002 – The Bourne Identity, an action-packed thriller with Matt Damon as the protagonist.
  • 2013 – Gare du Nord, a French-Canadian film about four travelers who meet at the station.  

So now you know that whenever you get that tingling sensation of deja vu when you’re in Paris, it’ll be because you’ve seen the spot you’re standing in on the big screen. The good thing is, if you fall in love with Paris and want to see it but can’t go, all you have to do is watch one of the above movies, and it’ll be like taking a trip down memory lane.

How to Style The Latest Corset Trend

In the fashion world, trends come and go, but some styles manage to make a lasting impact. One such trend that has been making waves in recent times is the stylish corset. These modern corset-style tops have evolved beyond their historical and lingerie origins, becoming versatile wardrobe staples that can be comfortably worn every day. In this article, we’ll explore how to style the latest corset trend to create chic and contemporary looks that suit a variety of occasions.

Embrace the Versatility

Modern corset tops are incredibly versatile, offering a range of options to suit your personal style and needs. Whether you’re heading to the office, a casual brunch, or a night out with friends, there’s a stylish corset top for every occasion. Opt for a classic black or neutral-coloured corset for a sophisticated and understated look, or go bold with vibrant hues and patterns to express your unique personality.

Elevate Your Workwear

Who says corset tops are only meant for parties and weekends? Incorporating a modern corset into your workwear can add a touch of elegance and professionalism to your daily outfits. Choose a well-structured corset top in a solid colour and pair it with high-waisted trousers or a pencil skirt. Finish the look with a blazer or cardigan for a polished ensemble that exudes confidence and style.

Mix and Match

One of the best things about modern corset tops is their ability to mix and match effortlessly with other pieces in your wardrobe. For a chic daytime look, pair your stylish corset with high-waisted jeans and ankle boots. Throw on a denim jacket for an extra dose of coolness. Alternatively, for a night out, combine your corset top with a sleek leather skirt and strappy heels for a sophisticated and sexy vibe.

Layer It Up

Layering is a key styling technique when it comes to modern corset tops. Experiment with different layering options to create unique outfits. A sheer blouse worn over your corset can add a touch of femininity and elegance. Alternatively, you can layer a lightweight cardigan or kimono for a more relaxed and bohemian look. Be bold and play with textures and lengths to achieve a fashion-forward ensemble.

Accessorise Wisely

Accessories can elevate your stylish corset outfit to the next level. Statement jewellery, such as bold earrings or a chunky necklace, can draw attention to your neckline and accentuate the corset’s design. A wide belt cinched at the waist can emphasize your curves and create a flattering silhouette. When it comes to bags, opt for a clutch or a small crossbody purse to keep the focus on your outfit.

Emphasise Comfort

One of the most significant advantages of modern corset tops is their comfort. Unlike their historical counterparts, these tops are designed to be wearable throughout the day. Look for corsets made from stretchy, breathable fabrics that allow for ease of movement. Adjustable straps and closures ensure a customised fit, ensuring you can go about your day comfortably while looking fabulous.

Experiment with Silhouettes

Modern corset tops come in various silhouettes to cater to different preferences. Some feature sweetheart necklines for a romantic look, while others boast square necklines for a more structured appearance. You can also explore asymmetrical designs or off-the-shoulder styles to add an edgy touch to your outfits. Experiment with different silhouettes to discover the one that complements your body shape and style the best.

Keep It Casual

Corset tops aren’t limited to formal occasions. You can effortlessly incorporate them into your casual, everyday wardrobe. A simple, fitted corset paired with distressed jeans and sneakers creates a trendy and relaxed look. Add a baseball cap and some oversized sunglasses for an effortlessly chic and street-style-inspired ensemble.

Go Monochromatic

Monochromatic outfits have been a timeless trend, and they work exceptionally well with modern corset tops. Choose a corset in a colour that matches the rest of your outfit, creating a streamlined and visually pleasing look. For instance, a white corset paired with white wide-leg trousers can make you look taller and more put together.

Confidence is Key

Ultimately, the key to styling the latest corset trend is confidence. Whether you’re wearing it to the office, a casual outing, or a special event, owning your look is essential. Modern corset tops are designed to empower you and make you feel fabulous, so wear them with pride and radiate confidence wherever you go.

In conclusion, modern corset-style tops have evolved far beyond their historical and lingerie origins, offering a versatile and comfortable option for everyday wear. By embracing their versatility, mixing and matching, layering, and accessorising wisely, you can create a wide range of stylish and contemporary outfits suitable for various occasions. So, don’t hesitate to explore the latest corset trend and elevate your fashion game with these fashionable and comfortable wardrobe staples.

Wings of Desire Share New Songs’ ‘Chance of a Lifetime’ and ‘I Will Try My Best’

0

Wings of Desire have shared two new songs, ‘Chance of a Lifetime’ and ‘I Will Try My Best’, which will appear on their forthcoming anthology Life Is Infinite. Take a listen below.

“We are yearning for something deeper, wanting to jump off the conveyor belt of life and prepare ourselves for the uncomfortable truth that we’ve never truly known what it is to live,” the duo said of ‘Chance of a Lifetime’ in a statement. “We are not claiming to have the answer, but if we can inspire a conversation or spark the listeners imagination then we are one step closer to the realisation that there is much more to living than we can consider tangible.”

“We can only ever give our best at life,” they added of ‘I Will Try My Best’. “We all have our own individual karma and dharma to deal with, each and everyone of us so incredibly unique. Our predicaments and circumstance entirely different to the next. So when you go through with your day to day life try to stay conscious of others (easier said than done I know). We all have our moments in the sun but understand that all of us go through times of suffering. So treat others like you would treat yourself as everyone is just you experiencing a different parallel life, journeying through the space-time continuum.”

Silvana Estrada Unveils New Song ‘Qué Problema’

0

Silvana Estrada has shared a new single, ‘Qué Problema’, which follows the Mexican singer-songwriter’s recent outing ‘Milagro y Desastre’. Check out a lyric video for the self-produced track below.

“For me it is a letter to unrequited love,” Estrada said of ‘Qué Problema’ in a statement. “When two people love each other but only one has the will to try. I think it is a difficult situation to handle, people are not clear, we come and go and we make a lot of trouble for not saying things. This was my attempt to say them.”

Last year, Estrada released her album Marchita, as well as the Abrazo EP, which made our best EPs of 2022 list.