Kasa Overall has shared a new track, ‘Going Up’, which features contributions from Lil B, Shabazz Palaces’ Ishmael Butler, and Francis and the Lights. It’s the latest single from his upcoming album ANIMALS, following ‘Ready to Ball’, ‘Make My Way Back Home’, and ‘The Lava Is Calm’. Check it out below.
ANIMALS arrives this Friday, May 26 via Warp.
Bonnie ‘Prince’ Billy has announced his first solo album in four years. It’s called Keeping Secrets Will Destroy You, and it arrives August 11 via Drag City. Lead single ‘Bananas’, a duet with Dane Waters, comes with a video made by Ethan Osman. Check it out and find the album’s cover art and tracklist below.
Keeping Secrets Will Destroy You, which follows 2019’s I Made a Place, was recorded with Nick Roeder in Louisville. Along with Waters on backing vocals, it features Sara Louise Callaway on violin, Kendall Carter on keys, Elisabeth Fuchsia on viola and violin, Dave Howard on Mandolin, and Drew Miller on saxophone.
In 2021, Bonnie ‘Prince’ Billy put out two collaborative records: Superwolves with Matt Sweeney and Blind Date Party with Bill Callahan.
Keeping Secrets Will Destroy You Cover Artwork:
Keeping Secrets Will Destroy You Tracklist:
1. Like It or Not
2. Behold! Be Held!
3. Bananas
4. Blood of the Wine
5. Sing Them Down Together
6. Kentucky Is Water
7. Willow, Pine and Oak
8. Trees of Hell
9. Rise and Rule (She Was Born in Honolulu)
10. Queens of Sorrow
11. Crazy Blue Bells
12. Good Morning, Popocatépetl
The good people of Ireland love trying their at online casino games, and they love it when they get to make use of bonuses, especially daily free spins. Due to the importance of enticing new players to open an account, many online casinos now offer free spin bonuses. So, with this in mind, in this guide we are going to tell you all that you need to know about such bonuses.
If you are new to the world of online gambling, then casino free spins are exactly what they sound like – the casino will give you an opportunity to spin the reels of some of their slot games without you having to put any of your hard-earned money on line. It is pretty clear to see why such bonuses have become so popular. Many of the top online casinos out there will include some free spins in their welcome offer because they know that this is a way to entice new players to open an account with them.
So, now that you have a good understanding as to what free spins are, you are probably wondering how you go about claiming them as part of a welcome bonus. Well, check out the step-by-step guide below:
If the online casino that you are signing up with is offering no deposit free spins, then you can disregard step three for the time being. This is because, as the name suggests, free spins no deposit in Ireland are bonus spins that you can claim without having to deposit any funds. Regardless of the type of bonus that you are claiming, it is always important that you take some time to read the T&Cs that apply.
An online casino with free spins will usually give you some particular slots Ireland that you can use your free spins on. More often than not it will be for some slot games that the casino would like to promote for some reason, or for a brand new slot game that one of the software developers that they have teamed up with have just recently released.
However, there is a small chance that you will come across an online casino that is offering free spins that can be used on any of the slot games that they have in their library. Casino players will obviously prefer such bonuses because it means that they can use the free spins on slot games that they know they will like playing.
There will be occasions when you will find an online casino that has a welcome offer that is offering both money and bonus spins. For example, maybe the offer is something like – a 100% deposit match up to €400 and 100 free spins. In such a scenario, check what the minimum deposit is and deposit that. By doing this, you’ll have deposited the least amount of money possible, but will still receive all of the bonus spins, while also getting a little bit of bonus money to boot.
If you do find a free spins bonus where you can use the spins on offer on any slot game that you wish, then look to play those slots with a high RTP. If you are new to iGaming, then the RTP indicates a theoretical percentage that the slot will give back to players. For instance, if a slot has an RTP of 96.4%, then it indicates that for every €100 bet, it will pay back a total of €96.40. However, keep in mind that this is a theoretical figure which is based on thousands of spins of the reels, so you are never guaranteed such returns. Despite this, slot games with a higher RTP are more likely to pay out than those with a lower RTP.
When making use of free spins, you will not be spending your own money, but you will need to in order to complete any wagering requirements attached to any winnings that you make. Whenever you are spending your own hard-earned money, it is of the utmost importance that you gamble responsibly and do not spend more money than you can afford to lose. We recommend that you come up with a budget for every gambling session and stick to it.
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 Kylie Minogue’s thumping, infectious dance banger ‘Padam Padam’; Róisín Murphy’s ‘The Universe’, a whole different kind of jam that filters gratitude with absurdity; Hannah Jadagu’s ‘Lose’, which is both vulnerable and catchy; ‘You’ll Never Get Your Money Back’, a soaring breakup anthem from Alex Lahey’s new album; Lande Hekt’s jangly yet poignant new single ‘Pottery Class’; ‘All and Everything’, a hauntingly dramatic yet exhilarating standout from Mega Bog’s latest album; the lead single from Chris Farren’s new LP Doom Singer, a track that sounds big and thrilling enough to earn the title ‘Cosmic Leash’; and Julie Byrne’s ‘The Greater Wings’, a radiant, gorgeous embrace of a song.
Best New Songs: May 22, 2023
Kylie Minogue, ‘Padam Padam’
Róisín Murphy, ‘The Universe’
Hannah Jadagu, ‘Lose’
Alex Lahey, ‘You’ll Never Get Your Money Back’
Lande Hekt, ‘Pottery Class’
Song of the Week: Mega Bog, ‘All and Everything’
Chris Farren, ‘Cosmic Leash’
Julie Byrne, ‘The Greater Wings’
Foo Fighters have announced that their new drummer is Josh Freese, replacing longtime Foo Fighters drummer Taylor Hawkins, who tragically passed away last year. The band confirmed the news Sunday during their livestream Foo Fighters: Preparing Music For Concerts, which was recorded at the band’s 606 Studios the group’s 606 studios in Northridge, California. The livestream began by teasing that famous drummers including Chad Smith, Tommy Lee, and Danny Carey would join the lineup before Freese was ultimately revealed as their new drummer.
A prolific session musician, Freese has played and recorded with everyone from Guns N’ Roses to Nine Inch Nails to Paramore to Sting. At last year’s Coachella, he played with both 100 gecs and Danny Elfman on the same day. He also performed with the Foo Fighters during both tribute shows to Hawkins last year.
Foo Fighters’ summer tour, which will take them across North America and Europe, kicks off May 24 in Gilford, New Hampshire. Their new LP But Here We Are comes out June 2.
In the glittering heart of the Entertainment Capital of the World, where dreams are brought to life and spectacle knows no bounds, Las Vegas has played host to some of the most unforgettable music residencies in history. From the golden era of Elvis Presley to the modern-day extravaganzas of pop icons, the stages of Las Vegas have witnessed the rise and reign of legendary musicians who have left an indelible mark on the city’s vibrant entertainment landscape.
So, join us as we embark on a journey through time, celebrating the luminaries who have graced the stages of Las Vegas and forever imprinted their names in the annals of music history.
Before jumping into the article, you must know Las Vegas is synonymous with extravagant casinos that have become synonymous with the city’s identity. These opulent establishments are the epitome of glitz, glamour, and high-stakes excitement. From the iconic Bellagio with its mesmerizing water fountain show to the grandeur of Caesars Palace, Las Vegas casinos offer an unparalleled experience
The casinos feature an array of table games, slot machines, and poker rooms, catering to every type of gambler. But for those who cannot reach and live the gambling life of Las Vegas, online casinos have become the go-to place for many Americans. All they need to do is Google Casino USA online — and they can gamble from the comfort of their homes. Although this is nothing compared to the vibrant atmosphere of Las Vegas, it still resembles the same thrill that the gaming experience offers.
Elvis Presley’s Las Vegas residency stands as a testament to his enduring legacy and immense talent. From 1969 to 1976, Elvis performed over 600 shows at the International Hotel, now known as the Westgate Las Vegas Resort & Casino.
These residencies became legendary, drawing fans from across the globe to witness the King of Rock and Roll in his element. Elvis’s electrifying stage presence, powerful vocals, and magnetic charisma created an unforgettable experience for all who attended.
His Las Vegas shows showcased his extensive catalog of hits, including “Suspicious Minds,” “Love Me Tender,” and “Can’t Help Falling in Love.” Elvis Presley’s residency in Las Vegas cemented his status as a music icon, leaving an indelible mark on the city’s entertainment landscape.
Known as the Chairman of the Board, Frank Sinatra is synonymous with the golden era of Las Vegas and its iconic music residencies. Sinatra’s performances in Las Vegas became legendary and established the city as the entertainment capital of the world.
From the 1950s through the 1980s, Sinatra headlined at various venues, including the Sands Hotel and Casino, the Golden Nugget, and Caesars Palace. His smooth, velvety voice, impeccable phrasing, and undeniable stage presence captivated audiences night after night.
Sinatra’s residencies were the epitome of sophistication and glamour, drawing celebrities, socialites, and fans from around the world. His timeless hits like “My Way,” “New York, New York,” and “Fly Me to the Moon” became anthems for the city itself.
Celine Dion, a Canadian powerhouse vocalist, is a true icon in the world of music and entertainment. With a career spanning several decades, Celine has achieved unparalleled success and touched the hearts of millions with her incredible voice and emotional performances.
Her Las Vegas residency, titled “Celine,” held at Caesars Palace from 2003 to 2007 and again from 2011 to 2019, solidified her status as one of the greatest live performers of all time. Celine’s residency became a must-see spectacle, showcasing her vocal range, passion, and captivating stage presence. Her shows featured a blend of her biggest hits, including “My Heart Will Go On” and “The Power of Love,” along with stunning visuals and production.
The legendary British singer-songwriter and pianist Elton John is a true icon of the music industry. With a career spanning over five decades, he has left an indelible mark on popular music with his distinctive voice, flamboyant style, and captivating stage presence.
Elton’s music is a fusion of various genres, including rock, pop, and glam, and his songs have become timeless classics. Hits like “Rocket Man,” “Your Song,” and “Tiny Dancer” have resonated with audiences worldwide. His Las Vegas residency, titled “The Red Piano,” held at Caesars Palace from 2004 to 2009, showcased his electrifying performances and extravagant costumes. The residency became a must-see experience for fans, featuring a mix of his greatest hits and captivating storytelling.
Bursting onto the scene in the late 1990s, Britney quickly rose to superstardom with her infectious pop sound and magnetic stage presence. Known for her catchy hits like “Baby One More Time,” “Oops!… I Did It Again,” and “Toxic,” Britney became a global sensation, dominating the charts and captivating audiences with her energetic performances.
Britney Spears’ Las Vegas residency, titled “Britney: Piece of Me,” held at Planet Hollywood Resort & Casino from 2013 to 2017, showcased her undeniable talent and stage prowess. The residency was a spectacle of high-energy choreography, elaborate sets, and her greatest hits, solidifying her status as an iconic pop star. Despite personal challenges and media scrutiny, Britney’s resilience and unwavering fan support continue to make her an influential figure in the music industry.
With a career spanning over six decades, Cher’s distinctive contralto voice, bold fashion choices, and magnetic stage presence have captivated audiences worldwide. From her early days as part of the duo Sonny & Cher, where they scored hits like “I Got You, Babe,” to her solo career with timeless hits like “Believe” and “If I Could Turn Back Time,” Cher has consistently pushed boundaries and redefined what it means to be a pop icon.
Cher’s Las Vegas residencies, including “Cher at the Colosseum” at Caesars Palace from 2008 to 2011 and “Classic Cher” at the Park Theater from 2017 to 2019, showcased her unparalleled talent and charisma.
Formed in 1970, Aerosmith quickly rose to fame with their distinctive sound and charismatic stage presence. Led by the dynamic duo of Steven Tyler’s soulful vocals and Joe Perry’s blazing guitar riffs, the band garnered a massive following and became known for their anthemic hits like “Dream On,” “Sweet Emotion,” and “Walk This Way.”
Aerosmith’s Las Vegas residency, titled “Deuces Are Wild,” held at the Park Theater in 2019, showcased their raw energy and showcased their extensive catalog of rock classics. The residency was a high-octane experience filled with explosive performances, incredible musicianship, and a celebration of their iconic music.
From her early days as a rising star to her status as a global icon, Lady Gaga has captivated audiences with her powerful vocals, fearless performances, and provocative persona. With chart-topping hits like “Bad Romance,” “Born This Way,” and “Poker Face,” Gaga has become known for her infectious pop sound and empowering lyrics.
Lady Gaga’s Las Vegas residency, titled “Enigma,” held at the Park Theater from 2018 to 2020, showcased her incredible talent and creativity. The residency was a visual extravaganza, combining stunning visuals, elaborate costumes, and electrifying stage productions. Gaga’s performances were a testament to her versatility, as she seamlessly transitioned between high-energy dance numbers and intimate piano ballads. Beyond her musical achievements, Lady Gaga is a vocal advocate for social causes and a symbol of self-acceptance and inclusivity.
Apart from its reputation for casino games, Las Vegas has been the stage for numerous iconic music residencies that have shaped the landscape of popular music and entertainment. From Elvis Presley and Frank Sinatra to Celine Dion and Lady Gaga, these legendary artists have graced the city’s renowned venues, captivating audiences with their talent, charisma, and unforgettable performances.
Their residencies have become part of the city’s rich musical history, leaving a lasting impact on both the Las Vegas entertainment scene and the broader music industry. These artists have not only showcased their exceptional artistry but also transformed the concept of live performances, elevating the Las Vegas residency to a pinnacle of musical excellence and spectacle.
Their legacies continue to inspire generations of musicians and entertainers, ensuring that the spirit of iconic music residencies in Las Vegas remains vibrant and celebrated for years to come.
The popularity of THC (tetrahydrocannabinol) products has soared in recent years as more individuals are seeking the potential benefits of cannabis. With the convenience of online shopping, finding top-quality THC products has become easier than ever. However, it’s essential to navigate through the vast array of options and choose reputable sources such as organically-made THCA gummies. This guide will give you valuable insights and tips on finding the top THC products online.
Before diving into the world of THC products, research and educate yourself about cannabis, THC, and its effects. Understand the different strains, product types, and consumption methods available. Know the legal regulations and requirements in your jurisdiction. This knowledge will empower you to make informed decisions and ensure that you find the right THC products for your needs. In this case, gather information about their potency, ingredients, and recommended dosage to explore the world of Delta-9 gummies, a popular THC-infused edible option. Consider factors like taste preferences, desired effects, and potential health considerations before indulging in these tasty treats.
To find top THC products online, seeking out trusted and licensed online retailers is crucial. Look for reputable companies with a track record of quality and customer satisfaction. Check for appropriate licenses and certifications that demonstrate compliance with legal requirements. Customer reviews and ratings can also provide valuable insights into the reliability and authenticity of the online retailer. Additionally, explore the retailer’s website to ensure they provide detailed product information, including the THC content, strain information, and lab testing results. Reputable online retailers prioritize transparency and ensure their products meet rigorous quality and safety standards. By taking these steps, you can have peace of mind knowing that you are purchasing top-notch THC products from a trustworthy online source.
When purchasing THC products online, prioritize quality and safety. Reputable online retailers will provide detailed information about their products, including potency, ingredients, and testing procedures. Look for products that undergo third-party lab testing to ensure accuracy and transparency. The lab reports should confirm the THC content and identify any contaminants. By choosing products that meet rigorous quality standards, you can have confidence in their effectiveness and safety. It’s also important to consider the extraction method used to produce the THC products. CO2 extraction is regarded as a superior method as it preserves the integrity of the cannabinoids and minimizes the presence of impurities. Additionally, some online retailers offer organic and sustainably sourced THC products, which can be desirable for those who prioritize environmental and ethical considerations. By paying attention to these factors, you can make informed decisions and select high-quality THC products that align with your preferences and values.
Customer reviews and ratings can offer valuable insights into the quality and performance of THC products. Take the time to read reviews from other customers who have purchased and used the products you are interested in. Look for reviews that highlight positive experiences, product effectiveness, and customer service. However, remember that individual experiences may vary, so consider multiple perspectives when evaluating a product’s reputation.
Finding the top THC products online involves considering your personal preferences and needs. Determine the desired THC potency level, product type (such as edibles, oils, or concentrates), and consumption method that suits you best. Consider factors like taste, convenience, and the desired onset and duration of effects. You can find THC products that provide the expected experience by aligning your preferences with the available options.
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Finding the top THC products online requires research, diligence, and an understanding of your preferences and legal considerations. By educating yourself, choosing trusted retailers, checking product quality, and considering customer reviews, you can make informed decisions and find THC products that meet your needs. Remember to prioritize safety, quality, and compliance with legal requirements. With these tips in mind, you can navigate the online market confidently and enjoy the potential benefits of THC products responsibly.
Beyoncé has tapped Kendrick Lamar for a new remix of her Renaissance cut ‘America Has a Problem’. “I’m an honorary Beyhive, let’s see why,” Lamar raps on the track. Listen to it below.
Lamar previously appeared on ‘Freedom’ off Beyoncé’s 2016 album Lemonade, as well as ‘Nile’ from The Lion King: The Gift. Beyoncé is currently on a massive world tour in support of Renaissance.
OSEES have announced a new LP, Intercepted Message, which is slated to arrive on August 18 via In the Red. Today’s announcement, which coincides with the release of the band’s Live At Levitation (2012), is accompanied by the album’s title track. Check out a video for it below.
John Dwyer shared the following statement on the new album:
A pop record for tired times.
Sugared with bits of shatterproof glass to put more crack in your strap.
At long last, Verse / chorus
A weathered thesaurus
This is Osees bookend sound
Early grade garage pop meets proto-synth punk suicide-repellant
Have a whack at the grass or listen while flat on your ass
Heaps of electronic whirling accelerants to gum up your cheapskate broadband
Social media toilet scrapers unite!
Allow your 24 hour news cycle eyes to squint at this smiling abattoir doorman
You can find your place here at long last
All are welcome
From the get go to the finale …. A distant crackling transmission of 80s synth last-dance-of-the-night tune for your lost loves
Suffering from Politic amnesia?
Bored of AI-generated pop slop?
Then this one is for you, our friends
Wasteland wanderer, stick around.
Love y’all
For fans of Teutonic synth punk and Thee Oh Sees (who the fuck are they?)
OSEES’ last studio album was 2022’s A Foul Form.
Intercepted Message Cover Artwork:
Intercepted Message Tracklist:
1. Stunner
2. Blank Chems
3. Intercepted Message
4. Die Laughing
5. Unusual & Cruel
6. The Fish Needs a Bike
7. Goon
8. Chaos Heart
9. Submerged Building
10. Sleazoid Psycho
11. Always at Night
12. Ladwp Hold
Mega Bog is the experimental pop project led by singer-songwriter and multi-instrumentalist Erin Birgy, who has been sharing songs under the moniker for over a decade. Having spent much of her adolescence as part of a traveling rodeo, she moved on her own to Spokane, Washington at age 15, where she contributed poems and band interviews to a local magazine called The Finger. Mega Bog’s label debut, Okay Human, came out in 2011, and since then, Birgy, who now lives in Los Angeles, has been expanding the project with a revolving community of collaborators that have included James Krivchenia of Big Thief and Hand Habits’ Meg Duffy.
Released today via their new label home, Mexican Summer, Mega Bog’s seventh LP, End of Everything, was co-produced by Krivchenia and features contributions from Duffy, TOPS’ Jackson MacIntosh, and Westerman, among others. Birgy wrote the album on piano and synthesizers instead of the familiar guitar, buoyed by the immediacy and drama of ’90s house hits and Italo disco grooves to drive a necessary, powerful, and transformative response to trauma. Even as it untangles some of her prior work’s more obtuse songwriting with a new playfulness and sincerity, Mega Bog’s music remains thrilling, curiously introspective, and darkly hypnotic – and paired with a series of music videos shot by Birgy in Greece and Los Angeles as well as her first published poetry collection, The Practice of Hell Ending, the record continues to stretch the Mega Bog universe out into uncharted territory.
We caught up with Erin Birgy for the latest edition of our Artist Spotlight series to talk about the importance of dancing, the process of writing and recording End of Everything, practicing presence, and more.
One of the first things that struck me about End of Everything is just how danceable it is. Why was this an important quality for you during this time?
I feel like the most important, somatic, physical thing that I can do is finding a way to play with the shell that you’re caged within and dancing. [laughs] When I was two years old, I wanted to be a dancer, and eventually, I wanted to be a choreographer. I always had this dance imprint for some reason, because it made me feel so excited. When a lot of these songs were written, it was when we were homebound and cut off from the rest of the world, and I wasn’t doing a lot of the physical things that I am used to doing and enjoy doing. I used to go dancing, host things with friends, hike infinite miles every other day, and all of a sudden, we’re not allowed to leave the house. I didn’t need any more complications, so I just honed in on the specificities of ‘80s, ‘90s dance pop hits, or Franco Battiato – he’s one of my favorite composers and lyricists, so dramatic and so gentle at the same time. It was just a way to get me through some of that deep stuckness, macro-level things that were going on around 2020, but also my micro existence. I really needed to hype myself up to dance more. A lot of these songs, they weren’t written as dance songs, even; by the point we recorded, it was so desperate. I was like, “We gotta try something real different.”
Do you remember exactly when that revelation happened?
Yeah. A lot of really heavy, traumatic stuff happened right before we went into the studio to make this, and everybody I was working with knew the circumstances of an assault that happened. I wanted to make the record because I was like, “If I don’t make this record I’m gonna die, so let’s just do it.” We were kind of laying the songs out as I demoed them before, so I just remember sitting in the live room, and I was like, “Maybe we reference some of these synth compositions, or maybe we even reference Enya,” and then started to do that and it’s like, “Uh-uh, it’s not… What do you actually want? What do you need right now?” And it was like, “We just need to be clear, emotionally direct, and summon that desperate energy into something that does not leave us feeling more desperate, but feeling release and relieved.” Especially James and Aaron [Otheim] and I, we were just like, “How do we do that?” We always just do live band stuff, and it was a lot of heads down, trying to work with different synths and sequencers and things that we hadn’t really figured out. We didn’t even really know how to use MIDI at that point. And then when we figured it out, we’re like, “Wow, that’s how you do it, and it’s amazing! Now the code is cracked to begin on this new, exciting, potentially infinite process.”
How did starting with the piano and synthesizer instead of the guitar for the writing of a lot of these songs feed into your lyrical approach?
I think at that point in writing, I was trying to write the music and the words together, mostly, just to have that divine bond between them. But a few years ago, I didn’t really know how to fluidly play piano, so I had to slow everything down. It was a lot of inhibiting myself in kind of a positive way and just focus. There was a lot of practice in between too, I had to play the songs over and over. It was less comfortable and less instant than it has been in the past with other songwriting practices, and this one was a lot more rudimentary. I felt like a toddler a lot of the time, and that kind of gave me a freedom to write more vulnerable, straightforward lyrics as well. I’m so grateful it happened; I think in general, when you slow down from anything, there’s a lot of space for other things to come up that you haven’t thought about in a long time. I think that serves this music really well.
Did this focus on directness force you to actively shed away some of your older impulses to maybe write more abstractly or in a more coded way?
There was fighting, yeah, it wasn’t easy. I think I framed my identity within a realm of almost ignorance – just being able to blast through a skill that was well known, which is, you know, stream-of-consciousness poetry alongside meandering guitar. I know how to do that, and it was challenging for me to have the curiosity to sit with feelings that were old, sit with feelings that were relevant and newest as well, but go into exploring them with a totally different pace and discomfort. So you have more space to learn, like, “What am I feeling? I’m feeling uncomfortable; my hand doesn’t work the way I think it should work, and that’s okay. How do I make best use of it?” Or with lyrics coming up – like, ‘The Clown’, I thought it was such a stupid song, and I was so embarrassed of the lyrics. I had to unlearn that judgment of myself, just sitting with it and sharing it with people.
Were you more concerned, given the circumstances in which the album was made, about the usefulness of the music on both a personal and a more collective level?
I was coming to an awareness of how making music served my own health. I was thinking about the people I was working with, when I started working with people, of just – I’m very emotional, and people have criticized it, and I feel self-conscious about it, so I’m always kind of like, “Okay, how do I make this a fun experience for you at the same time”? There’s a lot of pre-processing to the session that goes into it. It’s cliche, I guess, but I started doing intense cognitive behavioral therapy earlier in 2020. I’m still doing it, and it’s changed my life in a really cool way – just identifying things that could help in desperate moments. Like, I’ve known for ages, Just pick up a guitar, just hold it, play it for like ten minutes, and I usually feel a lot better. ‘The End of Everything’, the song, I had a really bad night, had a really bad while, and was – not completely hopeless, obviously, because I crawled out of bed – but just, I have to do something, I just have to play. And it was dirgy and depressing, but writing that song – I’m sorry if this is too dramatic, but writing that song saved me that night, because I had kind of made a decision to go elsewhere.
That was one of the last songs, but I think ‘All and Everything’ came after it, and that’s a little more triumphant and wasn’t necessarily from a place of desperation. I had this reflection, I was hanging at the cemetery with my friend Katie – we were on a funny adventure, but came back and had kind of made peace with a lot of very specific pains I was trying to sort through before that. I was trying to figure it out, and I did figure it out. And then the process of making it with other people, that year and a half of having it started, like skeletal studio recordings, finishing them, and then unleashing it onto the world – making sure it’s useful and moving and inspiring, that I’m handing it off with care instead of, like, “Here’s this terrible place that it began.” Actually, it’s been processed, and you can almost see the process. You can feel it in the music and in the writing. I don’t want to cause more damage; I want to reverse some that already exists out there.
One of my favorite lines on the album is from that song: “It’s something I’m trying commit to/ The all and everything.” In the poetry collection, though, you write, “I accept the all and everything.” Is it something you’ve had to wrestle with over time, that gap between commitment to and acceptance of hope?
The song came first, and the commitment is like, “I know that this experience is happening, so I must deal with it.” But I think writing the song, I was still trying to control a situation that was out of my control a little more. I was trying to commit to this idea, where I knew that there must be something that’s obvious at some point, but I was trying to make sense of it. And I think with the line in the poem, that came a year and a half later, just sitting with that idea a lot more, and it was honestly addressing the same pattern with a different figure. But at that point, I could loosen my grip on the idea, and I accepted that I didn’t have to make sense of it, that faith in something outside of my power – it’s just happening, it’s not like anything has intentions for me. It was just trying to document, like: I think I get it. I don’t have any control over this other figure’s reactions. I’ve tried my bit, and I can see how it has taught me something already, and it hasn’t even been fully swallowed, so I guess I’m grateful.
There was this article I was reading on the chemicals that are activated when you’re feeling anxiety or stress, that those chemicals can’t be fired off in your mind if you are sitting with gratitude. And with that situation in particular, I was like, I have to just be grateful that I have this opportunity to learn and maybe change my life for the better. I’m remembering it now – I feel like I’m starting to slow down my speech just because I need that right now. I need to sit down and make a gratitude list or something. But yeah, there was a difference in time, of having been introduced to the idea versus having practiced it for just a short while. I said earlier to you, “I figured it out.” It’s like, no, I haven’t figured anything out, but I have something that’s a little more ingrained in my practice, which does serve the understanding a little more.
Would it be fair to say that the poetry collection provided a space for you to explore a language that’s more personal and a little less direct than the kind you use throughout the album?
I didn’t have any intention of sharing this poetry with anybody. I was having a hard time journaling, documenting my days, and a friend suggested I make lists, and they just so easily turned into poems – another part of my brain went off. When I started school, I wanted to be a poet, I was in a poetry program, and I left it. It was kind of a despicable environment and didn’t feel healthy, being around these people who also wanted that in a specific way, so I ditched it all to start touring. Last year especially, while I was writing this, I was completing these pretty important cycles, like, when I was 14 and 15 I was going to be a poet, I grew up wanting to – I mean, whatever, let’s not get into childhood. But I started writing these just as ways I could keep track of my emotional self with the daily activities, kind of like: Here’s what I was thinking and feeling, here are the characters that were involved, here is how I view the world, just as a personal reference. James and I went camping, and I was just thrilled about re-reading some of my journal and read it around the fire. And he was like, “These are amazing, you’re like a poet again.” I was like, “I think I am!”
It became a really important piece of routine. Routine has been something that I’ve been focused on and never really had. This was something that made me feel free and curious and exploratory. I can use whatever language I want, and I can have whatever tone is honest or relevant in that moment while forming structure. I’ve noticed, if I don’t write for a day or two, I’m thrown off, and having a specific time to do that was a good way to start building a routine for myself. To have not only artistic stability, but just some mental stability. I look forward to writing. It’s one of those things where you’re like, I see that it helps, and that’s kind of weird, but this one was actually like, I love this, I’m so glad it helps. Because this is what I’ve always dreamed of and resisted for a long time. Felt like I wasn’t good enough, or felt like I couldn’t handle it. It’s like, “Nobody has to read that.” I would reread journal and be like, “Wow, this makes me so depressed.” And this is the first time I was like, “I think I’m, like, doing better. I think I have a handle on something.” And it’s okay if it doesn’t make sense to anybody else, but I’m also speaking to myself in a language that’s more direct. I’d never done that.
I was actually talking about a pretty strange synchronicity that happened to an old friend. I was like, “I haven’t really talked to you about things that happened when I was younger since I’ve been doing all this psychological work.” And they reminded me that when we met, when I was 19, I only could speak to them about my past through ghost stories or supernatural experiences. I couldn’t access the direct. I have extreme PTSD, and I’ve worked through so much of it to this point where I don’t have to hide behind an external story. I can practice presence, and it’s not so scary because my presence is safe; right now I’m safe, and I’m good, and I do have an extreme backstory. That’s okay, it’s just contributing to whatever I’m uncovering now – or not even uncovering, but what I know now about myself.
One poem simply reads, “I look forward/ As usual/ To music.” Do you remember writing that?
That was another one of those moments of, “What am I looking forward to? What am I grateful for?” I was in Greece, having a miscommunication and some strange feelings with a friend. I was like, “Well, I know that that will happen.” It’s simple, but I love other people’s simple poems. I have a lot of like one-liners just in my personal notebooks, and that one just felt so absolute and relevant forever. Not even just making it, but knowing that it’s in the world, and that I can listen to it, is such a reassurance. It’s just an absolute for me. Music is the most important thing. [laughs] It’s everything. It’s just everything.
This interview has been edited and condensed for clarity and length.
Mega Bog’s End of Everything is out now via Mexican Summer.
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