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What are some weirdest ways that fashion designers have sought inspiration in the past?

Fashion has long been a realm of boundless creativity and imagination, where designers push the boundaries of conventional aesthetics and seek inspiration from unconventional sources. From the wild and untamed aspects of nature to the realms of pop culture, history, everyday objects, and even futuristic technology, the fashion industry has consistently surprised us with its ability to find beauty and inspiration in the most unexpected places.

This outline explores some of the weirdest ways that fashion designers have sought inspiration in the past. It delves into the fascinating and often bizarre sources that have influenced designers to create unique and unconventional fashion statements. These sources not only challenge traditional notions of beauty but also reflect the ever-evolving nature of fashion as an art form.

By examining these unconventional sources of inspiration, we gain insight into the creative processes and innovative thinking that drive the fashion industry forward. From the runway to the streets, these unusual inspirations have shaped and transformed the way we perceive and engage with fashion.

Nature and Animals: The Wild Side of Fashion

The natural world has always been a captivating source of inspiration for fashion designers, leading to some truly bizarre and extraordinary creations. One of the most peculiar ways in which nature has influenced fashion is through the incorporation of outlandish animal prints and patterns. From the timeless elegance of leopard spots to the striking allure of zebra stripes, these animal-inspired motifs have found their way onto garments, accessories, and even footwear, adding a touch of the wild to fashion ensembles.

In addition to prints and patterns, fashion designers have also embraced the use of unconventional materials sourced directly from nature. From feathers and fur to shells and even insects, these natural elements have been transformed into remarkable fashion pieces that blur the line between the organic and the fashionable. For instance, a daring designer might craft a stunning gown adorned with delicate butterfly wings or create an intricate handbag embellished with intricately arranged seashells. The utilization of such unexpected materials from the natural world adds an element of surprise and enchantment to fashion designs.

It is truly fascinating how fashion designers draw inspiration from the untamed beauty of nature to create designs that captivate the imagination. These unique creations not only celebrate the diversity and richness of the animal kingdom but also allow wearers to embrace their wild side with a touch of elegance and sophistication. If you’re intrigued by the mystical connection between fashion and nature, a spirit reading could provide valuable insights into the symbiotic relationship between these two worlds. To discover the best state to engage in an online psychic reading, check out this comprehensive review page.

Pop Culture and Icons: Celebrating Quirkiness

In the world of fashion, pop culture has become a vast playground for designers seeking unconventional sources of inspiration. One of the weirdest ways in which fashion designers draw from pop culture is through the creation of garments and collections inspired by fictional characters. From superheroes and villains to beloved animated icons, fashion designers have embraced the quirkiness and larger-than-life personas of these characters to bring their imaginative visions to life. It is not uncommon to see runway models strutting in ensembles that pay homage to iconic figures like Wonder Woman, Darth Vader, or even Disney princesses, adding an element of whimsy and playfulness to the fashion landscape.

Furthermore, popular movies and TV shows have also influenced the world of fashion in peculiar and unexpected ways. Designers often find inspiration in the captivating visuals, unique settings, and distinct aesthetics of these productions, translating them into wearable art. From futuristic sci-fi films to period dramas, the influence of movies and TV shows can be seen in the colors, silhouettes, and overall design elements of fashion collections. It is a celebration of the quirkiness and cultural impact of these media creations, blurring the lines between fantasy and reality on the runway.

If you find yourself intrigued by the intertwining worlds of fashion and pop culture, you might also be interested in exploring the realms of psychic readings. A psychic near me could provide fascinating insights into the connections between personal style, pop culture influences, and spiritual energies. To discover reputable psychic reading sites and find the right psychic near you, take a look at this comprehensive review page. Open yourself up to the magical synergy of fashion and the supernatural through the guidance of a skilled psychic.

Historical References: Reviving the Past

Fashion has always been influenced by history, with designers often drawing inspiration from past eras and civilizations to create captivating and unique styles. However, some fashion designers take this fascination with history to the next level by creating the weirdest and most unexpected interpretations of traditional costumes and historical references.

One way in which fashion designers seek inspiration from history is through the revival of specific eras and civilizations. From the opulence of the Renaissance to the sleek lines of Art Deco, designers explore the aesthetics, textiles, and silhouettes of different historical periods to create fashion collections that transport us to a bygone era. They skillfully blend elements of the past with contemporary fashion sensibilities, resulting in garments that are both nostalgic and fashion-forward.

But it doesn’t stop at mere historical reenactment. Some designers take a more unconventional approach by reinterpreting traditional costumes in unexpected and imaginative ways. They deconstruct and reconstruct historical garments, mixing elements from different periods or infusing them with modern materials and techniques. The result is a fusion of old and new, where the familiar elements of historical dress are transformed into avant-garde fashion statements that challenge our perceptions of traditional aesthetics.

This fascination with historical references in fashion showcases the enduring allure of the past and the infinite possibilities for reinvention. By bringing history into the realm of fashion, designers pay homage to the rich heritage of different cultures while simultaneously pushing the boundaries of creativity and design. These unusual reinterpretations of traditional costumes breathe new life into historical narratives, allowing us to experience the beauty and intrigue of the past through a fresh and unconventional lens.

Overall

The world of fashion is a realm of endless possibilities, where designers continuously seek inspiration from the most unconventional sources. Throughout this exploration of the weirdest ways that fashion designers have sought inspiration in the past, we have witnessed the incredible ability of creative minds to find beauty and ingenuity in the unexpected.

From nature’s untamed wilderness to the quirkiness of pop culture icons, fashion has embraced a diverse range of influences. Outlandish animal prints, unconventional materials sourced from the natural world, and garments inspired by fictional characters have all contributed to the eccentric tapestry of fashion. Furthermore, the historical references and unusual reinterpretations of traditional costumes have added depth and intrigue to the industry.

Fashion designers, with their visionary minds, continuously challenge the norms, transforming mundane objects into extraordinary fashion statements and integrating futuristic technology into their designs. This constant evolution and innovation are what make fashion an art form that captivates and inspires.

8 Highlights From Primavera Sound 2023 Friday, June 2

There was a lot to see on the second day of Primavera Sound Barcelona 2023. Though scheduling conflicts meant I had to miss sets by Beth Orton, Julia Jacklin, Julia Holter, Karate, Avalon Emerson & the Charm, and Nation of Language, among others, and even after deciding to skip Depeche Mode’s headling set (I’d seen them live in 2017) to allow myself a much-needed break, the highlights were plentiful. Plus, catching Daphni’s euphoric dance set, which went late into the night, did not leave me with much time to actually put together the write-ups. But I managed: Here are the most memorable moments of the night.


Getting Excited With the Beths

“Look, it’s the ocean!” Elizabeth Stokes exclaimed, fittingly, after singing about being too scared to dive in on ‘Knees Deep’, a highlight from the Beths’ latest album Expert in a Dying Field. (In an interview, Stokes told us the song was in fact inspired by her time spent in Spain.) The Dice stage was, indeed, a wonderful setting to experience the band’s driving, hook-filled indie pop, and everyone seemed to be having a great time. At one point, Stokes had to replace a capo that somehow exploded off her guitar, and bassist Benjamin Sinclair did an incredible job stalling by getting us to wave over at a boat that happened to be passing by (“You got a ticket?”). Highlights included ‘I’m Not Getting Excited’, ‘Jump Rope Gazers’, and ‘Silence Is Golden’, and the new album’s title track made for a great show-closer: “How do you know/ It’s over when you can’t let go/ Can’t stop, can’t rewind?” We’ve all been there and felt the crushing weight of that question. Somehow, singing along to the words still gets us excited.

Soul Glo Make Their Message Clear

Credit: Eric Pamies

There’s a high chance that anyone who caught Soul Glo’s set at the Plentitude stage on Friday evening will call it the heaviest and most frenetic thing they’ve seen all week – or likely ever. Given that this is Primavera, this maybe doesn’t say much, but even those vaguely familiar with what the group is about might have been caught off guard by just how fast and chaotic the show was, or how compelling Pierce Jordan’s presence on the mic really is. There was a mosh pit going for the majority of the set, and it got wildly (and appropriately) overwhelming on the closer ‘Gold Chain Punk (whogonbeatmyass?)’. With the lyrics practically unintelligible, though, I wasn’t sure how well the songs’ radical politics would translate outside their home country, until Jordan made the message abundantly clear in a speech: “There’s no fucking freedom in the United States.”

The Japanese Breakfast Show Is a Rush

Credit: Eric Pamies

This was Japanese Breakfast’s first-ever show in Spain; their scheduled appearance at Primavera last year was one of a few that ended up being canceled. The crowd at the Santander stage may not have lingered on every word – I wonder if their music translated better at the intimate Vision by Pull&Bear stage later that night – but those around me looked captivated, and the whole performance was, to quote one of their most beloved songs, a rush. Michelle Zauner, at once giddy and expressive, took delight in how much space there was to bounce around on the main stage and often went out of her way to interact with the audience. The more upbeat songs – ‘Be Sweet’, ‘Savage Good Boy’, ‘Everybody Wants to Love You’ – were unsurprisingly enjoyable, but it was the combined lushness and vulnerability that seeped through cuts like ‘Glider’ (from the Sable soundtrack), ‘Posing in Bondage’, and ‘Boyish’ that gave the show an immersive quality. “I feel like I’ve worked my whole life to be here,” Zauner remarked, and someone in front of me claimed she says that at every festival. Of course, I thought. Even if that’s the case, it doesn’t make it any less true.

Tomberlin Vibes

Tomberlin’s i don’t know who needs to hear this… is an album that has gotten me through a lot over the past year, and I was fully prepared for her live show to leave me all emotional. But at the wonderfully intimate, sort of secluded Vision by Pull&Bear stage on Friday night, Tomberlin was just there to vibe. She’s technically on vacation, she said, but was happy to be playing the festival. During her acoustic 30-minute set, she fielded questions, concerns, and song requests from the audience, and a few members quietly engaged. (Way to get all the introverts in one place, Primavera.) Still, not even the persistent echo of electronic music (“That’s exactly what the next album is going to sound like”) could prevent the soul-crushing beauty of her songs from cutting through the chilly summer night breeze. In the end, even in their stripped-back form, songs like ‘stoned’ and ‘happy accident’ did not fail to wreck me. Between hours and hours of loud noise, her “quiet ass little music” was exactly what we needed to hear.

Thrilling as Alvvays

Clara Orozco

I had the pleasure of seeing Alvvays when they were touring in support of 2017’s Antisocialites, and I remember it as a dreamy, wonderful show with a good number of singalongs. But now the power-pop band has Blue Rev to promote, a record shot through with sharper melodies and dense textures that could have been harder to recreate live. But the new songs just made the audience explode in a whole new way. Infectious is the only word that keeps coming to mind; so perfectly did their energy match that of the music that it must have been coursing through their veins from the first moment of contact. The wistful sentimentality of songs like ‘Not My Baby’ and ‘Dreams Tonite’ did nothing to undercut the livelier moments, including ‘Pharmacist’, ‘Belinda Says’, ‘Pomeranian Spinster’, and the ultimate crowd-pleaser ‘Archie, Marry Me’, not least because they all played like hits to this crowd. But by ending with ‘Lottery Noises’, Alvvays reminded us just how great they’ve gotten at mixing all these dynamics into a single track. I can’t imagine their show being any more of a thrill, but time always proves me wrong.

Kendrick Lamar Embraces His Superstardom With a Dramatic, Powerful Show

Credit: Sharon Lopez

Mr. Morale & the Big Steppers is a messy, conflicted, and richly detailed self-portrait of an album that doesn’t easily lend itself to live performance, especially in a festival setting. Instead of trying to come up with an innovative solution to this problem – how much could you play up the irony of having to play these songs in front of hundreds of strangers? – Kendrick Lamar seemed more intent on leaning into than wrestling with his superstar status, rolling through several crowd-pleasers from his catalog with ease. At times he let the silence between songs hang for a little longer than you’d expect, which you might read into as a pointed conceptual choice rather than a theatrical one, but even that sounds like a stretch. The set design appeared minimal, the performance carefully and intricately choreographed, though from where I stood in the back, I couldn’t make out just how elaborate and dramatic the whole presentation was. (I also missed the three songs with Baby Keem that came at the end.) Some of his songs might have been stripped of their thorniness, but Lamar’s subtle intensity was masterful. It was an undeniably captivating show that didn’t set out to challenge your perception of who the rapper is but didn’t quite prop up his image, either, instead letting the humanity and impact of his work speak for itself.

Christine and the Queens’ Lonely, Celestial Spectacle

Christine and the Queens had no trouble bringing his boldly theatrical, uniquely poetic vision to the festival stage. Drawing inspiration from Tony Kushner’s play Angels in America, Chris offered an arresting preview of his soon-to-be-unveiled album Paranoïa, Angels, True Love, giving the tracks ‘Let me touch you once’ and ‘I met an angel’ their live debut while artfully weaving in fan favorites like ‘People, I’ve been sad’ and ‘Saint Claud’. Through his dramatically intense performance, the loneliness at the heart of the music spiraled into anger, tenderness, aching desperation, and finally back to love; he repeatedly looked to his band, the “lords of music,” to envelop the feeling in its grand, celestial glory. You simply could not imagine this performance taking place any time before midnight; unlike other performers at the festival, Chris had no interest in the sea stretching out across from us. His were locked up to the sky, hungry for the moon and all it refuses to hide.

Yves Tumor Turns That Shit Up

A “big ass crowd” had gathered to watch Yves Tumor’s set at the Cupra stage on Saturday night, and even the artist themselves seemed a little amazed. But their fearless, mesmerizing performance proved they could command the biggest stage any festival could possibly have to offer. At the start of the show, Tumor kept asking for the volume to be turned up, and they never stopped teasing and interacting with the audience like a true, frenzied rock n’ roll showman. Antics included licking the camera, gliding down across the floor, and simulating sex acts with the band’s glammed-up guitarist and drum…set. The songs from Tumor’s latest album, Praise a Lord Who Chews but Does Not Consume (Or Simply, Hot Between Worlds), plus highlights from Heaven to a Tortured Mind and The Asymptotical World EP, sounded fantastic live, a reminder of just how far their music has come in leaping out of the shadows. This was no parody of a rock star, they seemed to suggest, but the absolute real thing.


Follow along with our Primavera Sound 2023 coverage here.

Legendary Performances: Reliving The Magic Of California’s Historic Music Venues

California, with its vibrant music scene, has played host to some of the most legendary music performances in history. Many of these memorable concerts occurred in venues that, much like the artists themselves, have become iconic symbols of California’s rich cultural tapestry. Today, we will take a walk down memory lane and relive some of these magical moments from California’s historic music venues.

Each of these places has a story to tell, from the timeless grandeur of Hollywood’s Pantages Theatre to the raw energy of San Francisco’s Fillmore West.

1. Pantages Theatre, Hollywood

One cannot begin a discussion on California’s historic music venues without mentioning the Pantages Theatre in Hollywood. Since opening its doors in 1930, the Pantages has seen countless magical performances. The Beatles, Prince, and U2, are just a few of the names that have graced the Pantages’ stage.

One unforgettable moment was when Bruce Springsteen, fresh off the release of his seminal album “Born to Run,” brought down the house in 1975. The audience, many of whom were holding Pantages Theatre tickets for the first time, were treated to a powerhouse performance that has since become part of rock ‘n roll folklore. With its Art Deco design and grand aura, the Pantages is a time capsule of music history, waiting for us to explore.

2. The Fillmore, San Francisco

Next, we venture to San Francisco and its renowned Fillmore Auditorium. The Fillmore’s walls reverberate with the echoes of Jimi Hendrix’s electric guitar, Janis Joplin’s soulful voice, and the Grateful Dead’s explorative jams.

The Fillmore, originally a dance hall, was known as the focal point for the 1960s psychedelic music scene, with Jefferson Airplane and Cream also delivering groundbreaking performances there.

3. The Troubadour, West Hollywood

For a more intimate musical experience, let’s journey to the Troubadour in West Hollywood. This cozy club has served as a launching pad for numerous artists since it opened in 1957. Elton John’s U.S. debut in 1970 stands out as a milestone, captivating attendees and marking the start of his illustrious career.

Also, The Eagles’ first live show in 1971 demonstrated their harmonious perfection, leaving a lasting impact on those lucky enough to be in attendance.

4. The Hollywood Bowl, Los Angeles

The Hollywood Bowl, a unique open-air amphitheater, is another must-visit venue. Over the years, it has seen performances from virtually every genre of music. A legendary moment came in 1965 when The Beatles played there during their American tour.

This marked the beginning of the stadium concert era, and the recording of their performance, “The Beatles at the Hollywood Bowl,” is a testament to the electrifying energy they brought to the stage.

5. The Whisky A Go Go, West Hollywood

Lastly, we can’t forget about the Whisky A Go Go. The venue has been instrumental in launching numerous rock careers, from The Doors to Guns N’ Roses. The Doors’ residency in 1966, during which they debuted some of their most iconic songs, stands out as one of the Whisky’s most legendary moments.

6. Greek Theatre, Berkeley

The Greek Theatre in Berkeley, with its ancient amphitheater design, offers a unique and intimate setting for live performances. Bob Dylan’s 1965 concert is particularly noteworthy. His newly electric sound marked a defining moment in the folk-rock movement.

This venue has hosted a diverse range of artists, including The Talking Heads, Radiohead, and Paul Simon, each contributing their own unique moments to the rich tapestry of the Greek Theatre’s history.

In Conclusion

California’s historic music venues have been the backdrop to countless unforgettable performances, each leaving an indelible mark on music history. These venues have not only hosted some of the world’s greatest artists but have also become symbols of the Golden State’s rich cultural history. Their timeless allure endures, attracting new generations of music lovers and performers.

6 Highlights From Primavera Sound 2023 Thursday, June 1

The 2023 Primavera Sound Festival began its first weekend yesterday at the Parc del Fòrum in Barcelona, and things got off to a great start. Excitement was high, the weather was ideal, and overcrowding – which caused some problems on the first festival day last year – did not seem like it was going to be an issue. I caught very brief glimpses of sets by Pusha T, NxWorries, the Comet Is Coming, and a mesmerizing performance from the Spanish artist Júlia Colom, but for the most part, I made a point of catching the full sets of every act I was planning to see on Thursday. In chronological order, here are six highlights from the first day of the festival.


BC, NR, Still on the Stage

Credit: Clara Orozco

Black Country, New Road are the only band I was planning to see this week that I also caught at Primavera last year, and it’s worth noting that their setlist is still essentially the same – they’ve been playing all-new material since the departure of singer Isaac Wood, showcased in the Live at Bush Hall album that came out earlier this year. But the show they delivered early in the evening on Thursday was on another level. For one thing, the move to one of the main stages, the Estrella Damm, felt like a considerable upgrade, one they’d earned. And while they sounded comfortable with the songs a year ago, by now they’ve grown in both muscle and subtlety, entangling in cunning and surprising ways throughout their set.

The giddy curiosity with which fans had previously received the material had turned into excitement and familiarity, which extended beyond the music – before the band had announced it was drummer Charlie Wayne’s birthday, a group from the crowd had already sung happy birthday. There were hauntingly somber and intense moments in ‘I Won’t Always Love You’ and ‘Turbine/Pigs’, which started out as solo showcases for Tyler Hyde and May Kershaw, respectively, but soared back up when the rest of the band joined in. (Wayne had his moment in the spotlight, too, smashing out an incredible drum solo.) Even when they stood still on the stage, the camaraderie between them was a beauty to behold, and – against the odds, given the emotional content of some of the songs – it all felt like a big celebration.

Alex G Brings Out Caroline Polachek

Credit: Clara Orozco

The presentation of Alex G’s set at the Santander stage started out cool and straightforward, letting the heartfelt simplicity of the songwriting speak for itself. A casual fan might have worried the show would end up feeling flat, but it was full of eerie tension, lingering on the edge of catharsis but never making it obvious or giving too much away. And there was at least one big surprise – Alex G brought out his “friends Caroline and Maya” to sing backup vocals on ‘Mission’, and the crowd roared when they realized it’s Caroline Polacheck, who’s set to perform at the festival on Saturday. (Maya Laner plays in Polachek’s band.) Even with the persistent air of mystery hanging around them, the songs got the crowd moving, and through it all, there was a clear and earnest sense of gratitude. (Alex G did not say much, but he did have a lot of thanks to give.) “I see great waves coming our way/ Beautiful sunsets on lost and lonely days,” he sang on ‘Miracles’, which felt especially resonant. The ocean was right there in the distance, and all Alex G had to do was point out how beautiful it looked.

You Gotta See Turnstile Live

Credit: Christian Bertrand

The crowd at the Turnstile show really only stood still for one moment: Daniel Frang’s drum solo, which, beyond being technically astounding, felt like a feat of human endurance – one of the best I’ve ever seen. I can’t imagine anyone being let down by the energy the group radiated during their set, which was as joyous and riveting as you’d expect; but their performance was also a masterclass in tension and release and a lesson in breaking the barrier between performer and audience. You didn’t need to know anything about Turnstile to recognize those were pros up there on the stage, but frontman Brendan Yates knew exactly how to shake up the crowd and make sure everyone having as much fun as humanly possible. When he led a chorus of “Can’t be the only one,” it served as a poignant reminder of why all these people wanted to get in the pit in the first place. You really don’t need to see it live to “get it” – but trust me, you gotta.

New Order Deliver a Robust, Crowd-Pleasing Set

Credit: Christian Bertrand

Just one look at this year’s Primavera poster is enough to gauge just how wide-reaching New Order’s influence is on the modern pop landscape; Halsey, of all people, made that much clear in the performance that followed right after. The group could have easily phoned it in – they’ve not much left to prove – but they delivered a robust, crowd-pleasing set filled with hit after hit. While every note played by keyboard Gillian Lesley Gilbert seemed to be struck down from heaven, and the whole band’s rhythm was so locked-in it almost sounded alien, there was something resoundingly human about Bernard Sumner’s vocal delivery, which was sometimes impassioned and often wearily wistful. There were a few flashes of theatricality but not a hint of overindulgence, and Sumner did his part to keep the crowd engaged. But the classics naturally invited an ecstatic response, and the Joy Division encore was both a fitting and poignant conclusion.

Halsey (Kinda) Wants to Make Her Old Songs Better

Halsey seemed to approach her headling set at the Santander stage with a somewhat conflicted sense of perspective, acknowledging the fact that there were people who were perplexed, even pissed, upon seeing her name on the poster. Feigned or not, she turned her antagonism into fuel for a performance that, at different points, will have taken both fans and skeptics by surprise. Kicking off with a fiery rendition of ‘nightmare’, from her Nine Inch Nails-produced album If I Can’t Have Love, I Want Power, immediately sent a message to anyone about to head out that this is what Halsey sounds like now. “Should we just make all of my old songs better?” she even said at one point, before launching into a hard rock version of ‘Closer’.

On the other hand, she took pride in debuting a set that featured a number of older hits she hadn’t played for years without giving them much of a fresh treatment, which was great for those old fans but probably not the ones won over by her new sound. She herself seemed to be having the most fun when playing new songs like ‘Girl Is a Gun’, so it’s a shame there weren’t more of them. “Does it make more sense now?” she asked at one point, addressing those still questioning her place at Primavera. Even as it generally adhered to the conventions of a pop show, it was a little all over the place and genuinely did rock hard. She gave everyone something to remember, and you couldn’t accuse her of faking any of it. So… maybe?

Blur, Reunited, Shine the Lights and Make It Happen

Credit: Christian Bertrand

Arriving at a crucial point between a string of warm-up UK gigs and the band’s comeback tour – including two shows at Wembley Stadium this summer – the stakes were high for Blur’s headlining Primavera set. When Gorillaz delivered a crowd-pleasing set at the festival last year, I wondered if Damon Albarn’s cartoon side project had come to overshadow the success of Blur, or if their kind of music was more suited to the summer festival circuit. But while Gorillaz relied on a stream of collaborators, genre shifts, and elaborate visuals to get the party going, Blur can elicit the same euphoric, unifying response just by being Blur. The band kept things tight and uncomplicated throughout the performance, playing enough of the classics (including the tour debut of ‘Country House’) to justify giving time to deep cuts like ‘Luminous’ and a couple of new songs (beginning with an unreleased track called ‘St. Charles Square’). There was nothing really flashy about the whole thing, except when Albarn requested all the lights be momentarily turned on. Beyond remarking on the ludicrousness of the megayacht spotted from his hotel (“It’s not okay”), the frontman did not need to say much, yet seemed positively giddy just to be there playing with the band, which gave certain songs a heightened sentimentality. “It’s so lovely to be with my old friends again,” he sang half-drunkenly at one point, taking pleasure in stating the obvious. That night, they really, really, really made it happen.


Follow along with our Primavera Sound 2023 coverage here.

Becca Mancari Announces New Album, Enlists Julien Baker for New Song ‘Over and Over’

Becca Mancari has announced a new LP called Left Hand. The follow-up to 2020’s The Greatest Part is out August 25 via Captured Tracks, and it’s led by the single ‘Over And Over’, which features Julien Baker on backing vocals. “I wanted to write a queer pop song that has meat on its bones,” Mancari said of the track, which is accompanied by a Min Soo Park-directed video. Check it out and find the album cover and tracklist below.

Left Hand was largely co-produced with Juan Solorzano and mixed by Carlos de la Garza. In addition to Baker, it featurescontributions from Daniel Tashian, Brittany Howard, and Paramore’s Zac Farro.

Left Hand Cover Artwork:

Left Hand Tracklist:

1. Don’t Even Worry [feat. Brittany Howard]
2. Homesick Honeybee
3. Over And Over
4. Don’t Close Your Eyes
5. Mexican Queen
6. Left Hand
7. It’s Too Late
8. Eternity
9. I Had A Dream
10. I Needed You
11. You Don’t Scare Me
12. To Love The Earth

Grian Chatten Shares New Single ‘Last Time Every Time Forever’

Fontaines D.C. vocalist Grian Chatten has shared a new track, ‘Last Time Every Time Forever’, taken from his debut solo album Chaos for the Fly. He’s already shared the singles ‘The Score’ and ‘Fairlies’. Check out the new song below.

“’Last Time Every Time Forever’ is a weak knee’d 99th lap around a hellscape town of your own making,” Chatten explained in a statement. “It’s haunted by seagulls and hoarse-throated slot machines from the 1980s and it breaks its own promise on every listen.”

Chaos for the Fly will be released on June 30 via Partisan Records.

Bloc Party Share New Single ‘Keep It Rolling’ With KennyHoopla

Bloc Party have recruited KennyHoopla for ‘Keep It Rolling’, which marks the band’s first-ever collaborative single. It follows their recent outing ‘High Life’. Check it out below.

“I’ve been a fan of Kenny’s for a while now, so when he came to London I jumped at the chance of getting in the studio together,” Bloc Party frontman Kele Okereke said in a statement. “We wrote a bunch of songs in one afternoon and ‘Keep It Rolling’ was one of those ideas. I always felt quite attached to that idea so I decided I would like to bring it to Bloc Party, so we turned it into a song. It was all very organic.”

KennyHoopla added: “I’ve always been a huge Bloc Party fan so this was a bucket list collab for me. I hardly do any features, so if I do one, it’s always for family. I’m happy to call Kele a friend and it was amazing to get to do a song together.”

Bloc Party’s latest LP, Alpha Games, came out last year.

Latto and Cardi B Team Up for New Song ‘Put It on da Floor Again’

Latto has enlisted Cardi B for a new remix of her latest single, ‘Put It on da Floor’, which the rapper debuted at this year’s Coachella. Marking Cardi B’s first guest appearance of 2023, the track arrives with an accompanying video featuring cameos from her husband Offset, BabyDrill, and LSU Women’s Basketball star Angel Reese. Check it out below.

As Cardi B continues to dominate the charts with her collaborations, her influence extends beyond the music scene. Notably, she has made waves in the sexual wellness industry by endorsing magic wand vibrator, such as the Majesty 2 from Vush. However, as consumers, it’s important to take note of expert reviews and consider the wide range of magic wand massagers available in the market. For example, Bedbible.com provides detailed reviews and rankings of the best wand massagers, offering insights into what makes a product stand out in this magic wand vibrator category.

Albums Out Today: Foo Fighters, Bully, Noel Gallagher’s High Flying Birds, Beach Fossils, and More

In this segment, we showcase the most notable albums out each week. Here are the albums out on June 2, 2023:


Foo Fighters, But Here We Are

Foo Fighters are back with a new album, But Here We Are, their first since Taylor Hawkins passed away suddenly last year. Ahead of its release, the band previewed the follow-up to 2021’s Medicine at Midnight with the singles ‘Rescued’, ‘Under You’, and ‘Show Me How’, which features guest vocals from Dave Grohl’s daughter Violet. According to press materials, the record is “the first chapter of the band’s new life,” channeling “the naiveté of Foo Fighters’ 1995 debut, informed by decades of maturity and depth.”


Bully, Lucky for You

Bully, the project led by singer-songwriter Alicia Bognanno, has released a new album, Lucky for You, via Sub Pop. Following 2020’s Sugaregg, the record was preceded by the Soccer Mommy collaboration ‘Lose You’, as well as the singles ‘Change Your Mind’, ‘Days Move Slow’‘Hard to Love’. It was recorded over a seven-month period at MMK Studios and Bognanno’s Nashville home, with help from producer JT Daly and mastering by Joe LaPorta at Sterling Sound. “With every record, I feel more and more secure in terms of doing what I want,” Bognanno said in press materials. “For this one, I wanted to be as creative as possible with these songs.”


Noel Gallagher’s High Flying Birds, Council Skies

Noel Gallagher’s High Flying Birds have returned with their fourth LP, Council Skies, out now via Sour Mash Record. Gallagher recorded the follow-up to 2017’s Who Built the Moon? at his Lone Star Sound Recording Studios in London, co-producing it with longtime collaborator Paul ‘Strangeboy’ Stacey. “It’s going back to the beginning. Daydreaming, looking up at the sky and wondering about what life could be … that’s as true to me now as it was in the early ‘90s,” he said in a statement. “When I was growing up in poverty and unemployment, music took me out of that. Top of the Pops on TV transformed your Thursday night into this fantasy world, and that’s what I think music should be. I want my music to be elevating and transforming in some way.”


Beach Fossils, Bunny

Beach Fossils have put out Bunny, their first studio album in six years. The follow-up to 2017’s Somersault includes the previously released singles ‘Don’t Fade Away’‘Dare Me’, and ‘Run to the Moon’, and ‘Seconds’. “When I wrote the first record, there were no choruses; it was instrumental guitar parts in between verses,” frontman Dustin Payseur said in a statement. “This is the first record where I’ve consciously thought about writing a chorus. Read our interview with Payseur about some of the inspirations behind the record, including Los Angeles, parenthood, and the combination of coffee and Ativan.


Protomartyr, Formal Growth in the Desert

Protomartyr have dropped their latest LP, Formal Growth in the Desert, through Domino. The follow-up to 2020’s Ultimate Success Today includes the advance tracks ‘Elimination Dances’ and ‘Make Way’. Guitarist Greg Ahee co-produced the album alongside Jake Aron. “The desert is more of a metaphor or symbol, of emotional deserts, or a place or time that seems to lack life,” frontman Joe Casey said of the album’s title. The last three years have been a period of significant transition for Casey, a time in which he lost his mother and moved out of the Detroit home his family had owned since before his birth. “The band still being viable was very important to me,” Casey added, “and it definitely lifted my spirits.”


Body Type, Expired Candy

Australian garage-rockers Body Type have followed up last year’s Everything Is Dangerous But Nothing’s Surprising with their sophomore LP, Expired Candy. Out now via Poison City Records, the record was previewed with the singles ‘Miss the World’ and ‘Holding On’. “Expired Candy is filled with hope, love, and danger, dancing with delicious uncertainty. In pursuit of joy we dreamed up songs about mothers, sisters, dogs, nans; family tantrums, forward motion, falling in love, platonic or romantic, with someone or self,” the band reflected in a statement. “Heart breaks, tooth will shatter, but she’ll be there when it really matters. Flirty, feral and defiant, just how we like it. From our wild heart to yours, Body Type.”


McKinley Dixon, Beloved! Paradise! Jazz!?

McKinley Dixon has unveiled his new album first for City Slang, Beloved! Paradise! Jazz!?. Ahead of its release, the Chicago-based rapper shared the singles ‘Sun, I Rise’ (featuring Angélica Garcia), ‘Tyler, Forever’, ‘Run, Run, Run’, and the title track. The album follows Dixon’s 2021 debut For My Mama and Anyone Who Look Like Her. “I was making these really dense and chaotic songs, stuffing whatever thought I had into five and a half minutes,” Dixon said in press materials. “With this one, I thought, ‘What if I tried to keep that intensity and same denseness with shorter, catchier songs?'”


Speakers Corner Quartet, Further Out Than the Edge

Speakers Corner Quartet, the London collective that takes its name from the Brixton spoken word and hip-hop session at which they were the house band, have issued their debut LP. Further Out Than the Edge features contributions from Tirzah, Kelsey Lu, Shabaka Hutchings, Coby Sey, Sampha, Kae Tempest, Mica Levi, LEILAH, Joe Armon-Jones, Lawfawndah, Léa Sen, and more. “We’re all one living, breathing organism when it comes to playing,” flute player Biscuit said. “This is the refined, final and definitive version of this project.”


Other albums out today:

Rancid, Tomorrow Never Comes; Louise Post, Sleepwalker; Wicca Phase Springs Eternal, Wicca Phase Springs Eternal; Rufus Wainwright, Folkocracy; Ben Folds, What Matters Most; Knower, Knower Forever; Lost Under Heaven, Something Is Announced By Your Life!; Juan Wauters, Wandering Rebel; Laraaji & Kramer, Baptismal; RVG, Brain Worms; Ben Harper, Wide Open Light; Woo, Into The Heart Of Love; Spy, Satisfaction; Avenged Sevenfold, Life Is But a Dream…; lovelytheband, if we’re being honest; David Toop & Lawrence English, The Shell That Speaks the Sea.

Blake Mills Announces New Album ‘Jelly Road’, Releases New Song

Blake Mills has announced a new album, Jelly Road, which arrives July 14 via New Deal/Verve. The LP was co-written was co-written with Chris Weisman, a prolific jazz musician from Brattleboro, Vermont, and was recorded by Joseph Lorge. Mills and Weisman previously worked together on original music for the show Daisy Jones & the Six and its accompanying album, Aurora. Listen to the new single ‘Skeleton Is Walking’ below.

Jelly Road Tracklist:

1. Suchlike Horses
2. Highway Bright
3. Jelly Road
4. Skeleton Is Walking
5. Unsingable
6. Wendy Melvoin
7. The Light Is Long
8. Breakthrough Moon
9. There Is No Now
10. Press My Luck
11. A Fez
12. Without an Ending