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Celebrate Birthdays with the Best Letterbox Gifts UK

Letterbox gifts are a great way to celebrate loved ones’ birthdays and special milestones when we couldn’t be there in person. From Halloween to Christmas, letterbox gifts are perfect for celebrating many occasions. They are good options for people living at a distance and can’t be gathered together in one place. So, gifting them a letterbox can turn their happy occasions into even happier and more grateful ones.

Letterbox gifts are delivered straight to the recipient’s door, so they do not need to visit a store. Plus, orders can be made quickly and easily online. They’re a great way to show someone you care, no matter the distance. Various options can be available, from a cute flower bouquet to a nice fragrance performance or even some sweet and fudgy brownies to surprise your loved ones. 

Today, we offer you some options to celebrate birthdays with the best letterbox gifts in the UK.

Best & Unique Letterbox Gifts UK 

Choose the best option here to send a letterbox gift to your loved ones and celebrate their birthdays while they are far away!

1- Pamper Your Skin Letterbox Gift Set

Here comes the number 1 letterbox gift option in our choices. This set is the perfect way to show your loved ones that they should remember to keep pampering their skins more with a perfect combination of “Hand Lotion & Cream Gift Set” with some extra love. Hence, you can make it in a customised box with a hydrating mask, luxurious body oil, or even a nourishing hand cream. These products will help nourish and protect the skin, leaving it feeling soft and radiant. It is the best way to show how much you love and care for them on their special day.

2- Brownie Box Afternoon Tea Letterbox Gift Set

Our second number choice is a letterbox brownie gift set that can be delivered straight to the recipient’s doorstep. No need to wait on stores to choose the best flavour; just pick up your favourite flavours, make them in a customised box, and send them to the person straight to the doorstep. Gifting someone a customised brownie box that is rich in flavour and contains natural ingredients. Celebrating your loved ones’ birthdays while sending them a sweet treat is all everyone wants to have on their special days.

3- Personalised Coffee Gift in Letterbox Size Packaging

Another great option to send a letterbox gift to celebrate your loved ones’ birthdays is a personalised coffee set. In the packaging, you have various ideas to make a proper gift set with different items, including 1 large espresso coffee flavour, 3 small hazelnut sachets, 3 small mochas, and 3 small latte sachets. This is a great option for coffee lovers who want to try something new. It’s convenient as it comes in a small letterbox-sized package and can be customised to the recipient’s taste. Plus, it’s an affordable way to show someone you care.

4- Scented Candles Letterbox Gift Set

Who doesn’t love scented candles? A customised box of scented candles letterbox gift set is the perfect choice for those who love collecting different scents and flavours of candles. Surprise your loved ones on their birthdays by sending them a beautiful set of letterbox gift-scented candles, including four luxurious scented candles in a beautiful gift box. Moreover, you can even add personalised notes or messages to each candle to show your thoughts to them. Make sure to choose candles made with natural wax, a cotton wick, and essential oils to create a calming atmosphere. Perfect for a relaxing evening or to give as a gift.

5- A Bunch Of White Roses In The Letterbox Gift Set

Making someone’s birthday with a bunch of white roses simply shows a symbol of love & purity. White roses are considered a symbol of new beginnings, so sending a bunch of white roses in the letterbox gift set can strengthen your relationship with the recipient. White roses are perfect for special occasions like anniversaries, birthdays, or a new relationship. They also convey deep love and appreciation, making them a popular gift choice. You can even add some flavorful chocolates to make the moment sweeter and full of memories.

Conclusion

A letterbox gift set is the perfect choice to show people far from you that you care and remember them, even on their special days. To summarise, a letterbox gift set is the perfect way to show love. Thus, a letterbox gift set is ideal for showing your love and appreciation to the people around you. Celebrate people’s birthdays with a letterbox gift set that can be sent directly to their door, reminding them of your love and care even when you can’t be there to celebrate with them. It’s a thoughtful way to let them know that you are thinking of them, no matter how far away you may be.

Explore Unique Graduation Party Themes To Elevate Your Celebration

Everyone is happy when they graduate, but how do you make it memorable? With a wide variety of graduation party celebrations, choosing the right theme for the party can take time. Personalised decorations, mindfulness games, and fun activities are all great ways to make your party special. Another option is to get personalised favours and have a special cake or dessert to make the day more memorable. 

This article will cover some must-haves to give a unique touch to your graduation party this year. If you want to make the graduation party more fun, add some decorations in the graduate’s school colours or with their mascot. It’ll make the whole event feel more personalised and special!

9 Must-Haves Graduation Party Theme Ideas

Check some of the best graduation party themes arranged indoors and outdoors. 

Indoor Graduation Party Ideas

1- Host a mystery theme party

The top indoor graduation party idea is to host a mystery theme party. Mystery theme parties are creative and fun, making your graduation celebrations unforgettable. Such parties can involve solving puzzles, finding clues, and playing games altogether individually to create an exciting and engaging atmosphere. 

You can even customise the games via a personalised mystery gaming kit. Mystery theme parties are among the best for celebrations like graduations or birthdays because they promote team building and collaboration. 

Guests can work together to solve puzzles, find clues, and complete challenges. Plus, you may find various themes, from classic murder mysteries to Halloween parties and more. It’s a great way to give graduates something to enjoy and remember their graduation.

2- An elegant graduation dinner 

Celebrate your graduation day by throwing an elegant dinner party for your guests. Choose a selective menu that is both delicious and easy to make. Focus on decorations and fill tables with fresh flowers and candles to enhance the atmosphere. Create some special memories by taking lots of pictures to commemorate the occasion. You can even make the set-up interesting by adding a variety of snacks and drinks, you can even take it to a whole new level with BRÄ’Z Alcohol Alternative Drinks to create the night more special.

3- Graduation hi-tea 

Offering a hi-tea graduation party is always a great way to celebrate a student’s achievements. This celebration can only be done with families and friends. So, let your graduation party top of the world and gather your family and friends in a nice and calm hi-tea party. Add some delicious bite-size snacks and other savouries to the menu. Remember to invite your teachers and say a delightful appreciation to them.

4- Throw an open house party

To celebrate your graduation, you can even throw an open house party. This option is great for indoors and offers a lot of fun and excitement. An open house party is a great way to show your new accomplishments to family and friends. It also allows you to show off the decorations you have put together and to have a chance to reconnect with people you haven’t seen in a while.

5- Indoor dance party

Dance is always a good idea if you plan a high school graduation party. It would be great if you could pick a theme for your graduation party, such as the ’80s, ’90s, or disco, and encourage your guests to wear costumes. It doesn’t matter what the theme of your party is; make sure you deck it out with lots of bright lights and glitter. Hire a DJ to keep the party moving and fill the room with great music. If you can, rent a smoke machine to add a bit of drama to your dance floor. Moreover, take lots of pictures to remember this special day!

Outdoor Graduation Party Ideas

1- Graduation garden party

Celebrating your child’s graduation should be at the top of everything. Whether deciding the menu or inviting people around, managing everything at a place can be time taking, right? Choose an outdoor space and throw a garden party for your guests. Decorate the garden area with all the lovely fresh flowers like white roses, beautiful jasmine, and more. Focus on the menu, don’t just go for a lengthy option; instead of this, choose interesting items to eat, like jumbo prawns, hot dogs, pancakes, stuffed potatoes, and more. 

2- Graduation brunch at a vineyard

If you want to go off the beaten track, host your party at a winery or vineyard. Your event’s guests should dress in formal attire to make the occasion more formal. You can make the graduation ceremony even more special by organising a keynote speaker to be a part of the ceremony. Lastly, provide each guest with a souvenir of your event, such as an item they can customise or a bottle of wine. 

3- Picnic party at a park

A picnic party at a park can be a great idea to gather families and friends for a graduation celebration. It can be a fun and cost-effective way to celebrate the occasion. Plus, being outdoors can provide a great opportunity for people to relax and enjoy the company of one another. Choose a decent park with a spacious atmosphere so that everyone can enjoy and spend the most time laughing and interacting with each other.

4- Iceream party  

A simple ice cream party to celebrate graduation is another great option to bring family and friends together to celebrate a special accomplishment. It is also affordable to mark the occasion and create lasting memories. Simply arrange a place with all your guests, and keep everything on point, including decorations and seating preferences. Book a wonderful giant ice cream truck near the place and allow everyone to go and have ice-creams as much as they want. Ensure to provide the guests with all sorts of toppings, sauces and other goodies.

Conclusion

In conclusion, try any graduation party ideas to give your special day a unique touch and make it a memorable experience for everyone around you. Consider having some customised graduation activities for the occasion. You could also use personalised plates, cups, and napkins for a more memorable event. Balloons, streamers, and confetti are great additions to any graduation party.

Don’t Miss Out on These Exciting New Games Coming This Year

It has been proven so many times before that video games are one of the best sources of entertainment. Because of them, we are allowed to briefly escape the real world and enter the one that’s a lot more fun.

And what’s great about them as well, is the fact that they are intended for people of all ages, not solely for children, or teens. From what we heard, this year is going to be fantastic when it comes to new releases.

According to various reports, over one hundred widely popular video games are expected to arise in 2023, and we cannot be more thrilled about it. So if you would like to know what’s in store for this year, then scroll below and you’ll find out everything!

Let’s Begin With Baldur’s Gate 3!

If there’s one game that avid players have been impatiently waiting for, it’s for sure this one. They were hoping that last year was going to reward them (for their patience), but, sadly, that wasn’t the case.

But on a brighter note, the time has come, and the world is finally ready to welcome it. So what do we know about it? It has been made by the renowned Larian Studios, which is widely known for Divinity: Original Sin.

Those who decide to play this game will come across a variety of new characters, along with the old ones, Jaheira and Minsc. Now, we are not quite sure what their stats are going to be, however, we do recall that in the original games, they were a Half-Elf Fighter/Druid and Human Ranger. 

Furthermore, just like its precursor, this game employs Dungeons & Dragons rules that are adapted for computers, however, we would like to remind you that there are several differences that are worth mentioning:

  • Although the first two games come with RTWP (real-time with pause) combat, this version utilizes turn-based combat to stimulate tabletop rules
  • Unlike the first two games (that employed Advanced Dungeons & Dragons 2), Baldur’s Gate 3 utilizes 5e as the source of the rules.

Phenomenal The Day Before

Back in January of 2022, the developer of this game, FNTASTIC, stated that at some point, this year, they are going to release this post-apocalyptic, zombie game. And the entire world was completely startled because of it.

So when can we expect it? Namely, the current The Day Before release date is November 10, this year, for users who’ll be playing it on their PCs. As far as the console launch is concerned, it is planned for a bit later. 

In the meantime, we all witnessed a couple of trailers, and according to the experts, this game resembles The Last of Us in terms of look and feel. So what’s the storyline? You wake up completely alone, and you do not have the slightest idea what happened to you.

Throughout the game, players will try to find the answer (among many others) to this question and will have to find a way to survive because they’ll be dealing with a deadly zombie infection. In order to survive, you’ll need to obtain a bunch of useful supplies and will have to hide in abandoned buildings and houses.

An Exciting Bomb Rush Cyberfunk

It appears to be like Team Reptile’s factory is finally ready to blast off one of the most thrilling video games in the universe. And after some delays, it’s safe to say that we are more than ready for it.

According to a plethora of passionate gamers, this is by far, one of the most promising releases of 2023. If you love that 90c comic book vibe, that’s combined with some modern elements, then we are positively sure that you’re going to love this video game. 

In this adventurous and dynamic video game, you’ll be playing a troubled protagonist called Red who loves spraying graffiti on walls. What may shock you is the fact that now, you won’t be seeing his real face, but AI head instead.

During this game, Red will try to figure out who took his face, which means that you’ll be visiting various, interesting parts of the city, while simultaneously, spraying graffiti in order to uncover the truth.

Additionally, not only will gamers be blown away by the visuals, but they will also enjoy the game’s sensational soundtrack made by Hideki Naganuma who added some phenomenal funky beats to further spice things up.

When it comes to the release date, according to our sources, Aug 18, is the day when this video is going to see the light of the day.

Are You Ready For The Texas Chainsaw Massacre?

 

If you’re a huge horror buff like us, then you’ll be glad to hear that you’ll be able to purchase it this month, to be more precise, on August 18 for PlayStation 4, PlayStation 5, PC, Xbox Series XS, and Xbox One. 

So what can we tell you about this game? Namely, it is an asymmetrical multiplayer video game that’s (logically) based on one of the most popular horror movies of all time “The Texas Chainsaw Massacre”.

During this game, four people will try to escape from the vicious members of the Family: the Cook, Leatherface, and the Hitchhiker. What’s exciting about this video game is the fact that you’ll get the opportunity to be in the shoes of both the victim and the killer. How amazing is that?

Earn Some Bucks In Payday 3!

If you’ve been dying to be part of a huge heist, then we have some great news for you. You’ll be able to experience that (and so much more) in one of the most exciting video games, for the time being, Payday 3.

During this game, you have two options. You can either join forces with other players (in order to get some cash) or play against them. The winner is (of course) the one who earns the most money, while the losers are the ones who were arrested or ended up in body bags. So which one will you be?

Even though there’s no doubt that last year was very generous when it comes to video games, if you ask us, 2023 is going to be much better. As you can see, there are so many remarkable games that are waiting to be launched and we couldn’t be happier!

Author Spotlight: Taylor Byas, ‘I Done Clicked My Heels Three Times’

People joke that their life is a movie, but Taylor Byas believes it. Her debut full-length poetry collection I Done Clicked My Heels Three Times sees Byas reflect on growing up in Chicago and her eventual move to Cincinnati after completing a PhD, which she likened to Dorothy’s journey in The Wiz, a movie that was a cultural touchstone in her home. In Byas’ Chicago, love and violence existed side by side, poem by poem, in sharp turns of phrase. And though she appreciated her time there when she was a child, “What we want has so little room to grow,” she notes in one poem.

In prose both heart wrenching in one line and hilarious the other, Byas paints a portrait of life in Chicago with all of its ups and downs. There’s the immediate love and protection she grants her younger brother, the feeling of community on porch steps, but at the same time, there’s inherent danger of being Black in a city, a struggle for bodily liberation, and relationship troubles, innocent or severe, aptly summed up in one’s poem title, “Men Really Be Menning.”

Our Culture sat down with Taylor Byas to talk about the influence of The Wiz, humor as a coping mechanism, how society hardens young Black men, and more.

Congratulations on your debut full-length poetry collection! How does it feel for it to finally be out?

I think I’m equally excited and terrified. Just because once it’s out in the world it’s out of your hands in a scary way. But I’m also just excited to see what the book does in the world. I’m looking forward to it!

You’ve published three books in as many years. Does the writing process come naturally to you or is it tough to be so productive?

I was really fortunate enough to be in a PhD program that really gave me the space to write a lot. I got a lot of writing done in my program, including a thesis for my master’s. So I came into it with a significant amount of work the world hadn’t seen, and then I was in classes where I generated a lot of work. I think, with those two together, I was able to gather a lot of material for a lot of different projects. And just being intentional about writing towards those projects, too, was really helpful.

I Done Clicked My Heels Three Times is inspired by The Wiz, and you parallel your life growing up and leaving Chicago with Dorothy’s journey leaving Kansas. When did these two ideas start to merge for you?

The Wiz has been a movie I’ve loved since childhood. It’s one of those cultural staples, those family household things you have to know and experience, often multiple times, just because you love it so much. It’s a bonding thing. I really adore that movie, and I always love the fact that we have this really Black version of something else that already existed, too. It was really special to me in that way.

I moved away from home for undergrad — I went to Birmingham, Alabama, which is a ten-hour drive from home in Chicago. I think once I was away from home for a long time, it gave me the space to newly appreciate where I came from and to think about what home means. Then I moved again to Cincinnati, and I was like, ‘Oh, these different places are really putting into perspective all the different ways Chicago has raised me, and all these alternative ways I’m having to build home and community in the others.’ I think those moves really started to bring this project together, and naturally, the trajectory of moving provided this natural way of thinking about it and frame how I was already thinking about home and the journey of womanhood, and all of those sorts of things that culminate in the project.

From its very early chapters, I was struck by the dissonance that Chicago poses to a young person: You write about so much love in your earlier years, friends coming to join others on porches, and I’m also thinking about your poem where you compare Black children to blackberries. But existing alongside this is violence — there’s the creepy man at the corner store, and the image of you digging in the bullet hole of your father’s recliner is really powerful. Did you feel this kind of friction in the moment, or was it recognized once you started writing about it?

I think I recognized it once I started writing about it. One of the goals of this project is to push back against the monolithic pictures and ideas people have about Chicago. Something I think is true of Chicago and most big cities we live in is that most things exist simultaneously. There is an immense love and nostalgia in all the ways we felt safe and held in the places that raised us. And then there are all the different dangers we’ve all experienced and encountered, especially now. There are all of these ways it’s dangerous to be out in the world in general. What I hope is, in the reading of this book, there are people who are not from Chicago that read this book and have some moments of recognition. Like, ‘Oh, this is not just a Chicago thing.’ There are ways that people who aren’t from there can connect, because Chicago is multidimensional, it is dynamic. And that’s something I think is really important to see about the city, and not just what the media tells us what Chicago is to the outside world.

Of course. It reminds me of the other poem where, when learning you’re from Chicago, someone asks if you’re in a gang, and you’re like, “…No?”

Oh my goodness. Being in Birmingham and telling people I was from Chicago… It was a journey. That was, 9 times out of 10, the reaction I would get. And sometimes still do, in Cincinnati! But in Birmingham it was very consistent. It was an interesting social experiment.

In the poem “Painted Tongue,” you recount a dream where your father gifts you new jewelry, but the most poignant part to me is the end. You write, “My mother and I becoming each other, her bruises and scars passed down, family heirlooms that will take me decades to stop wearing, to sell.” Is this about the transactional nature of art, how, in order to make it as a poet and produce these books, you have to sell your writing and trauma to others?

I think that’s definitely a part of it. There’s an element that’s thinking about all of the things that we inherit from our parents and our ancestors. In the larger scheme of things, thinking about being Black in Chicago, and what comes with that. And on a smaller level, it’s like, what am I taking from my parents, my mom? There are ways that I think, for writers of color in particular, we have to tell particular stories to be noticed or platformed. There’s a way that capitalism encourages that, too, in certain cycles the publishing world goes through. For example, in Black History Month, we’ll see calls for this and calls for that. And I think that’s also a big question I had to wrestle with for the book. 

When you do write about your traumas, especially writing about people who are still alive, there is this question of, what happens when this gets into the hands of the people I’m writing about? Some of these poems have already found my parents, my dad. I also think there’s a quite literal selling, where I’m quite literally telling the world my story. I think there’s a part of that, too, that feels cathartic, telling it and having it out there and sharing it with others. In the same way I think selling an heirloom would come with an ethical question, telling a long and complicated and traumatic story about family also comes with a question. What’s the cost, the true price?

I thought it was interesting how the “Poppy Girls” section explored bodies, whether scorn towards them, recountings of sex, harsh examination. There’s this really striking comparison in “How to Pray” that likens the scale’s flashing number as a sort of god, something we’re continually living for and adjusting our lives around. Talk a little bit about the inspiration for this poem, and this section as well.

“Poppy Girls,” in the movie, is this really interesting scene where Dorothy and her gang walk up on these women who are dancing seductively, and it kinda comes out of nowhere but it’s this really sexy scene. And I was like, ‘This has to be the title for the section about bodies.’ 

There are a lot of different ways that bodies are important to me. I went through a series in my life where I struggled with my own body image, my weight, and that’s where that poem comes in, thinking of the red light on the scale like a god because I felt like it was taking over and controlling me and my life for a long time. But I also think a lot of that problematic relationship I have with my body was also just a result of harmful relationships I had with men, as well. In the different ways those intimacies with men were used against me, or trust was broken. For me, those things are directly connected to how I see myself, exacerbations of shame, of embarrassment, all of those sorts of things. They’re deeply connected, and that’s how I see that section of the book working for me… but ugh, that scene in the movie, it’s just perfect. I thought, ‘This has to be in the book. Nothing else would fit.’

Something that I thought was so important is how you balance humor along with heavy topics. There’s a poem in the same section where honey mustard sauce from Wendy’s sends you down a spiral of thoughts and memories where the endpoint is a lonely night in your apartment. Was this pairing something you strived for in this collection?

Oh, I love that poem. There are definitely some moments of humor that I intentionally have in the collection. The Kill Bill poem comes to mind, there’s moments in there that make me laugh. I think humor is really important to the collection, but it’s also really culturally important. I think about coping mechanisms, and how I and my family deal with difficult things — humor is absolutely a crucial part of that. If you are on Twitter long enough, you’ll see that when anything terrible or serious is happening, I can bet a dollar there is some hilarious tweet making the absolute fun of it.

I mean, the submersible.

Oh, it was so fun. Don’t cancel me, y’all, but those were hilarious. The hurricane that just hit, there were videos of these Black children dancing in the flood water! Which, on the record, terrible idea, y’all! Get out of the flood water! But still, just the urge to seek joy in situations of disaster and hopelessness — the endless urge to find a way to build joy into it is crucial and culturally important. It had to be a part of this book.

There’s this really powerful duo of poems, the first starting with a quote from Claudia Rankine’s poem “In Memory of Trayvon Martin,” where you examine your younger brother’s innocence in the moonlight. And in the next poem, “How Young Boys Survive the Ghetto: 101,” you lay ground rules that end with the quote, “let me remember you like this, carefree.” The obvious thought in the back of readers’ mind here, is that even if young men follow the rules, do everything right, there’s still a chance of danger and death, like Trayvon Martin and the many young Black men and women that came after him. What did you want readers to feel with these two poems back-to-back specifically?

There’s, of course, this larger national and global comment on the danger that young Black men, and Black bodies in general, are just constantly in. But there’s a very particular way, for instance in Chicago, that being raised in a city hardens you, or attempts to harden you. I think I was thinking a lot about my young brother, who is the most sensitive soul, and who was also going through a difficult time. I think of all the ways the world was trying to harden him, and all the ways I saw him resisting that. Underneath that is thinking of all the men I’ve had relationships with that were hardened by a world that hasn’t been kind to them, or given them a safe space to be anything but that. I feel deep sadness for the way of the world and the way Black men in particular are not allowed to be the best versions of themselves. And as a result, cannot be and often are not good friends, partners, parents. I think, while looking at my brother and thinking about him individually, writing about a deeper sadness about the nature of Black men and how they have harmed me individually, but how society socializes them to be harmful. Which I think is really unfortunate.

One poem ends with the quote, “I was naive enough to think I could control a life. Even mine.” Does this line take on a new significance in later sections, after you leave Chicago and, in a sense, create a new life?

Yeah, and I think this also has resonance when I’m thinking about the movie as well. There’s this journey to Oz, where they’re like, ‘We’re gonna get there, we’re gonna ask for things, we’re gonna get them, and it’ll be exactly like how we want.’ And I think in a lot of ways that has been my life, in certain stages. Before I went to undergrad, I had all these ideas about what it was gonna be like. And I got there and I was in this long and traumatic relationship and it was nothing like how I imagined. And before I got here there were all these ways I thought Cincinnati would change and transform me, and some of those things happened and some of them didn’t. There are all these ways, that in thinking about home, I think I have the answers and I know how to do it, this will change me, and it’s always out of my control. It never goes according to my plan, and there are always other things happening, other things coming up. Just in the past few months, I graduated with my doctorate in poetry, and I was so sure I’d come out and get a teaching job, and I’d be starting as a professor somewhere, and almost two months in, I’m at a corporate writing job. I pivoted very hard! And I love it, and I think it was the right decision to make, but I’ve been constantly reminded that everything is so out of my control. Which I think can be scary, but at times, can be freeing and a really grounding thing to remember. It’s gonna happen the way that it’s supposed to happen. And that has kept me going through some difficult times.

I loved the ode to Beyoncé’s “Hold Up” music video, where you say in this really clever line, “Yoncé show me how to do damage in high heels / how to become a chandelier from a windshield’s leavings.” What did this video mean to you in the moment and now, years later?

I was coming out of a really difficult relationship, and I was having trouble getting access to rage. And I think Beyoncé’s music video, for me, was this really gorgeous and beautiful illustration of what that looked like. Here she is, in this gorgeous gown, happily smashing things into oblivion, and I was like, ‘This is what I want. This is the motto of what I want to access emotionally right now.’ Writing about that music video really allowed me to give into some of those emotions I had trouble accessing. But then again, ‘Teach me how to become a chandelier from a windshield’s leavings…’ I felt so devastated and destroyed. I was like, ‘How do I rebuild myself? How do I come out on the other side of it?’ There’s a more practical side of how I piece myself back together after this devastating and terrible experience. 

That’s interesting — you had this rage, but just by watching the video and writing about it, you were satisfied?

[Laughs] Sometimes what happens to me is, I’m trying to write about a thing that is still so hot. And I’m trying to do it too close. I’ve had this problem when trying to write about other things — trying to write a poem about something that’s really heavy and close to me. I’m trying to write the poem with “I…” “I…” “I…” and I’ll get stuck. I’ll have to find another entry point. I think focusing on the visuals and the details of the music video allowed me to step back from what I was feeling, and examine what I was feeling in a way that I wasn’t able to when I was so close to it. There are some ekphrastic things in this book, and maybe in others I’ve written. Ekphrasis is really important to me and my writing, it’s actually kind of part of why I’m a poet now. Finding an alternative entrance into something, mainly through a visual, is a pretty surefire way for me to get at something I’m having trouble accessing.

I think the last poem is my favorite. You write to the moon as this friend, sister, mentor, and there’s this really funny dichotomy where you write, “You in my bed every night and nothing ever to say of it. My therapist thinks I’m projecting.” What was this poem’s inspiration?

This poem might have been the very last poem I wrote for the book. The end of the book was different previously, then I wrote this, and knew it’d be the end. I think it was a writing prompt, actually. I was at a point where I was stuck, and the wonderful Ross White sent me a document of really fantastic poem prompts, and one was to write a letter to the moon. I was like, ‘Sure! Let’s go for it.’ And this is what came out. It was a really fun exercise, but the prompt also allowed me to come to the page with no preconceived notions of what the poem needed to be. And I just allowed whatever was sitting, ready to come out, to come out. I didn’t realize I needed to write this poem until I had written it. I think that’s characteristic of what my writing process looks like now. In the beginning phases of my PhD, I was writing a lot, because I was constantly in class, doing these generative exercises and having the space to write. Then COVID hit, and eventually I moved out of coursework, and had to figure out how to make the writing happen without a regular schedule.I had to really get comfortable with the fact that I couldn’t force the poems. They have to form on their own, or the idea of one had to come to me whenever, and I had to be ready to receive it. This was definitely a case of something being ready for me. I was in the right space at the right time to receive it. I’m grateful it did, because the book needed to end there.

The last lines of it really stuck with me too, particularly “Love was an ancestor of quietude.” I’m curious to know what this line means to you.

How much time do you have? [Laughs] In the context of the poem, the speaker mistakes the moon’s silence for abandonment. In reality, the moon is always there. It’s always quietly following us around and watching over us. In the moment, the speaker has this realization of, ‘Maybe I need to redefine what love looks like.’ I think, also, this idea of quiet support, quietly watching over, is significant to me, because I think you get a sense from the book and some of the experiences I write about with my father and my family, there’s a way there’s a lot of noise has been a part of my life, too, in ways that don’t feel very good. There’s something about the quiet that feels really significant in that moment as well, in imagining and thinking about how love shows up in those romantic relationships, how I’ve been conditioned to see it or how it’s been allowed or a volatile type of thing. When in reality, maybe what I’ve needed and what has been there for me all along is this other version of the thing. I think it was definitely a moment of rethinking what love looks like, what it meant, and coming to appreciate those less vocal or outward or boisterous displays, appreciating the ones and the people who have silently been there and beared through the things with me. It brought me a new appreciation for friends and family who have done that for me.

So finally, what’s next? Are you working on any upcoming collections or other projects?

Yeah! There is a poetry anthology, The Southern Poetry Anthology from Texas A&M University Press, for the Alabama poets, coming out very soon as well. There’s a YA anthology of Black folklore poetry at the top of next year, that I’ve co-edited with two other amazing co-editors I love and adore, Amber McBride and Erica Martin. Those things are on their way. I am working on full-length number three. Kind of insane to think about, even though this one is about to come out. It feels very strange, also, to be writing so far away from this. I think I signed the contract for this two years ago. Which means the poems in here were written two plus years ago. It feels very strange but really endearing to be back in this book now, and to be so deep in the poet I was before. It’s bittersweet. I miss these days when I was just first starting, but it’s encouraging to see this and feel like I’ve evolved. I’m always getting closer to… something. What it is, I dunno. But it feels like I’m getting closer to that elusive thing we’re all chasing as writers, a version of perfection we’ll never reach.

I Done Clicked My Heels Three Times is out now.

Spiritual Cramp Announce Debut Album, Share New Song ‘Talkin’ on the Internet’

Spiritual Cramp have announced their debut self-titled LP, which is set to drop on November 3 via Blue Grape Music. New single ‘Talkin’ on the Internet’ arrives with a music video directed by Sean Stout. Check it out and see the album’s cover art and tracklist below.

Spiritual Cramp was produced by the band’s Michael Bingham and Michael Fenton and features additional production from Carlos de la Garza. It follows a string of EPs the group has put out since forming in 2017. After supporting Teenage Wrist in the US, Spiritual Cramp will head out on tour in the UK and Ireland with Militarie Gun this December.

Spiritual Cramp Cover Artwork:

 

Spiritual Cramp Tracklist:

1. Blowback
2. Slick Rick
3. Talkin’ On The Internet
4. Herberts On Holiday
5. City On Fire
6. Better Off This Way
7. Clashing At The Party
8. Catch A Hot One
9. Can I Borrow Your Lighter?
10. Addict

Watch Spotlight: Baltic Bicompax 003

There is a perception that luxury is out of reach for most people. However, brands like Baltic, which make watches that look luxurious and offer sound value for money, contest this notion. In this Watch Spotlight, we will focus on their wonderful timepiece Bicompax 003, a Chronograph timepiece inspired by the 1940s.

Design

When it comes to hitting the mark, the Bicompax 003 hits it right on the mark. As a starting point, the watch comes in a clean stainless case in three dial variations: Silver Blue, Salmon, and Blue Gilt. Typically, we have a favourite dial, but this timepiece has three that are hard to choose between. All of the dial choices are top-end and eye-pleasing. For example, the Silver Blue brings out a beautiful sense of the ocean through its layering and can be worn with monochromatic outfits or playfully layered three-piece suits. With its gold-like appearance and white markers, the Salmon variation can be worn to cocktail parties or formal award ceremonies. Lastly, we have the mysterious and dark Blue Gilt, which, like the others, adds a sense of vintage and richness to any well-crafted outfit with its striking appearance. As a side note, Blue Gilt goes superbly with Baltic’s stitched green strap.

Before we get too carried away, the case diameter measures 36.5mm while the lug-to-lug measures 46mm. Certainly suitable for most wrists. The watch’s thickness is a relatively friendly 13mm and includes a high-domed hesalite glass for consistently eye-pleasing appearances.

Let us move on to the straps. The typical choice without additional fees is the stitched strap, which comes in navy blue, green, saffiano black, and lion. Moreover, you can go for a bracelet with two options: beads of rice and flat link options, bringing a more sporty look to the timepiece.

Movement

Like the dials, the movement does not disappoint. The watch uses a Manual Seagull ST1901 movement, a chronograph movement with a power reserve of 42 hours, making it suitable for horology enthusiasts who prefer a watch they can tinker with constantly.

Conclusion

So, should you buy the Bicompax 003? Well, at 540 euros on the Baltic website, the quality provided by Bicompax 003 seems justified. However, the price can vary if you choose the open case back, which is an additional 25 euros. The price will also increase if you choose the beads or rice of flat link options for the strap by 60 euros. So, if you go for the most expensive option, you may spend around 625 euros.

Considering all these factors, the watch is an excellent value for money, purely on its aesthetics alone. Also, brands like Baltic are true aficionados of timepieces; they do not chug out a piece every other week for an event or memorable holiday. So, the Bicompax 003 gets a big thumbs up from Our Culture.

Nation οf Language Share Miss Grit Remix of ‘Too Much, Enough’

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Nation of Language have shared Miss Grit’s remix of ‘Too Much, Enough’, the latest single from their forthcoming album Strange Disciple, which landed on our Best New Songs list. Listen to it below.

“It was actually pretty hard trying to reimagine a track from a band where every song sounds like perfection to me,” Miss Grit said in a statement. “I just wanted to add in more of what their music already makes me feel. And this song in particular is so playful, I wanted to add to the fun.”

Strange Disciple, the follow-up to 2021’s A Way Forward, comes out September 15 via PIAS. It includes the previously unveiled singles ‘Sole Obsession’, ‘Weak in Your Light’, and ‘Stumbling Still’.

Artist Spotlight: Ratboys

Ratboys started out when Julia Steiner and David Sagan met as freshmen at the University of Notre Dame in South Bend, Indiana. Having relocated to Chicago in 2015, the band released its debut album, AOID, via Topshelf Records, following up with 2017’s GN and 2020’s Printer’s Devil. The latter marked the first time Ratboys’ current lineup – rounded out by bassist Sean Neumann and drummer Marcus Nuccio – wrote an album collaboratively from start to finish, though the entirety of their first headline tour was then cancelled due to COVID. Celebrating their 10th anniversary, Ratboys put out Happy Birthday, Ratboy!, which featured re-recordings of several early songs, in 2021. For their remarkable new album The Window, out Friday, the band recruited producer Chris Walla (Death Cab for Cutie), who helped realize the widescreen ambition of their tenderly infectious and heartfelt brand of so-called “post-country.” Though it deals with themes of grief and isolation, the music’s joyful aliveness radiates through not only the band’s tight performances but Steiner’s lyrics, whose unflinching honesty and immediacy spins the white noise of confusion into pure love. “I love this feeling,” she sings as she looks back on the band’s early days on ‘I Want You (2010)’. “Burning all my blank CDs never meant so much to me.” In the present, it somehow still feels like the start of forever.

We caught up with Ratboys’ Julia Steiner for the latest edition of our Artist Spotlight series to talk about emotional directness, the process behind The Window, working with Chris Walla, and more.


Have you thought about how the arrangements on The Window might have shaped up if you’d been able to tour through the pandemic? Apart from the timing and practical side of it, do you think the energy might have been different?

We’ve never had the opportunity to road-test a bunch of new songs. It’s always exciting to have one or two in your pocket that you can play for unsuspecting fans, but the timing has never quite worked out for us in that way, where we tour right before we hit the studio or something. I think not touring kind of helped in an odd way, just because we had so much time to workshop them at home. We were very lucky that we practiced in the basement of the house where Dave and I live, and it’s allowed us to have a lot of flexibility and a lot of time to workshop things and get together and just jam very openly, without a time deadline or without pressure to learn something by a tour coming up.

We played a few of the songs coming out of the studio on that Europe tour last year, and it would have been interesting – I don’t know going into the studio if I realized how much the song ‘The Window’ would resonate with people, or how that arrangement we were working on was more solid than I realized. When we went into the studio, I personally was kinda like, “It’s good,” but I wasn’t like, “This is awesome.” Going on tour playing that song live after we recorded it, it was kind of apparent every day that people were enjoying it, but also getting more out of it and that the arrangement we had come up with was working. It would have been cool to maybe play that one a few times before the studio, just to get even more confidence for myself personally.

What made it apparent? What specifically did you realize people were resonating with?

I think it has a lot to do with the lyrics and the thematic content of the song. It deals with this unique, strange situation of someone, in this case my grandpa, saying goodbye to a loved one, in this case my grandma, through a window. Not being able to be there in person, having this strange disconnect that you can’t control, a physical limitation in that way. It’s on the surface of sad story, but also captures some of the strange reality of the world we’re living in at the time. There’s something really intangible – I don’t know how to really talk about it, but when you’re on stage, it’s really easy to perceive the energy in the room. During that song and after, you could just feel that people were paying attention, and that there was some sort of connection happening between us and the audience. That was exciting to pick up on because I wasn’t sure how it would go over.

Did going back to some of your earliest songs with Happy Birthday, Ratboy affect you personally or creatively in a way that comes through on The Window?

That’s a good question, I haven’t really thought about how those two records are connected. The cool thing about Happy Birthday, Ratboy is that we recorded a lot of it at home because we were in lockdown and not able to leave our house for a while. We we went into a friend’s studio – it’s kind of a great mix of a DIY space and a wonderful functioning studio with nice gear. We went in there to do the drums and the bass and some of the guitars and vocals, but a lot of it we recorded at home. I found that to be a really cool way to reconnect with the original recordings, because we were obviously recording that all at home, in my dorm room, as it were. It was a cool way to connect with the whole reason for doing the project. But also, it was a great way to get comfortable in our basement and just keep figuring out how to record down here and get better at demoing. We ended up recording a lot of our practices for The Window down here, and Dave got pretty adept at how to mic our instruments in this space. It kind of solidified this space in our house as our creative hub. I’m not sure musically how much those two records feed into each other, just because the songs on Happy Birthday, Ratboy are so much older and they were already finished for a while, but definitely the fun of experimenting and trying things without much of a time deadline for Happy Birthday, Ratboy was a great experience that led into our continued experience of writing The Window at home.

I definitely feel that the songwriting on The Window is grounded in the present, but ‘I Want You (Fall 2010)’ stands out because it’s clearly reflecting on the past. I just don’t know how far it dates back, if there were scraps of it written a long time ago or if it’s all in retrospect.

That song, oddly enough, was actually the newest one. We wrote ittwo months before we went into the studio, whereas we started working on some of the ones two years before. I’m just very fond of that time in my life and my personal history and relationship history. I came up with the chorus first for that song, and the whole “I want you” lyrics just came out. I was like, it’d be cool to write just a straight-ahead love song – no complications, no worries, just a love song. I hadn’t really done that as intentionally. Some of the songs in this record, my goal was to really just be as clear as possible and very direct. I’d done that with ‘The Window’, so I was like, maybe I could try to write as direct a love song as possible about that time and those memories. We went into the studio really fresh on that one, and it was fun to figure it out while we were in there because we didn’t have a lot of the parts figured out for that song.

What I love about that directness is that it doesn’t feel like a way of masking vulnerability. I’m taking the line out of context, but “I’m not gonna pick my brain apart” on ‘Making Noise for the Ones You Love’ – that feels to me almost ironic, because not picking your brain apart lyrically ends up revealing more on an emotional level. Do you feel like that approach brought you closer to what you really wanted to say?

Totally. It’s a win-win for me, because that’s definitely an outcome, what you just mentioned. It allowed me to be more honest and more vulnerable and more real with my perspective and what I’m trying to say. That song specifically, ‘Making Noise’, definitely was kind of the scariest one for me, just because it is so raw and I’m being so open. At the same time, the lyrics are very open-ended, and I hope that people can put their own story on top of it and not even think about what I’m gesturing toward. But it’s exciting to be so vulnerable in the context of a loud rock song, being here with my bandmates and truly making noise for the ones we love. But it was also a win-win in the sense that it was a songwriting challenge for me. In the past, I have kind of given into my indulgent instincts to write a different set of lyrics for every chorus or write another verse when maybe it’s not necessary. I wanted to try to be a little bit more concise in some of these songs. Sometimes less is more, and you can really get a lot more across with either a simple line or fewer words than you might think. And it’s something I’m still trying to do, just having more compact presentation. If you can really get a lot across in 8 lines or whatever, then you’re winning.

I wanted to ask about ‘Morning Zoo’, which of all the singles you’ve put out is probably the one with the most country flair. What was it like to lean into that in the context of a record as expansive as The Window?

Going into the studio, our demo for ‘Morning Zoo’ was pretty bare-bones. We had the structure, my chords, the bass drum idea, and then the lyrics, but we knew that this one was a blank canvas to add ideas and textures. That was why we were so grateful that we had not only this long amount of time in the studio – we had 24 days to work – but also, we were working with Chris Walla, who is just a textural guru in the studio. We were excited to see what ideas he might have or where his instincts would take us to. It was interesting that Dave’s – I saw someone call it “tumbling” – guitar riff throughout the song really was a north star for us.

What ended up being the violin part, which was played by Abby Gundersen, who’s just an amazing musician, we originally were thinking maybe that should be horns, but then we found out Abby was available and it became clear that having it be a violin or fiddle would sound even cooler. Mike Vernon Davis, who also works at the studio and is an absolute wizard, came in and very generously laid down the keys, and the colors of the chords that he chose were like so dreamy – they reminded us of Bruce Hornsby, who’s one of our favorite musicians and piano players. It’s one of those studio experiences where you’re like, “This is what I always dreamed would happen.” This person would just drop in like a balloon and completely transform the song, and we just sit back and watch it happen.

What excited you the most about the idea of working with Chris Walla, and what excites you now listening to his influence on the record?

It’s hard to pinpoint exactly specifically what excited us going into it because we just had this outside vision of Chris that was so mythical. We all grew up listening to Death Cab for Cutie, that was one of my first entry points into indie rock music. There’s so many people my age who had the same experience – I watched The OC as a young child, and Death Cab featured prominently on that show. That was a massive pivotal moment in my life of discovering this new genre of music and all these new bands, and very quickly discovered that Chris was the man behind the curtain with their recordings. He had always been this studio hero of ours, so when we were able to make contact with him, and when he was interested in working with us, it was the coolest, most surreal, happiest email to receive.

There’s that saying, “Never meet your heroes,” so we were mentally prepared for like, “What if we don’t jive in person? What if our workflow is different?” I wasn’t anticipating these things happening, but in the back of my mind, I was allowing space for a worst-case scenario. But the best thing happened where we got to Seattle and turns out Chris is an absolute lovely person to spend time with – not just in the studio, but anywhere. We have a lot of the same taste in music and a lot of the same instincts – like love of routine in a certain way, and appreciating the sunset, and the smell of the trees in the morning – and we immediately clicked in a way that I didn’t want to get my hopes up to think might happen, but it did. We were excited to work with him from a musical standpoint, and now, looking back on our time in Seattle, we are obviously so thrilled with the results that we were able to achieve together –  but also the interpersonal connection and experience we had being in the same places for a month was really powerful and really cemented my love of making music and my sonic curiosity.

How did you feel when you laid down ‘Black Earth, WI’? Did you have a strong sense of how it was going to stretch out?

No, I didn’t have a strong sense of how long it would stretch out. I originally wrote that song, the verses and choruses – anywhere there’s vocals before the guitar solo was a chunk of a song that I was working on. I was very passively working on it for a couple of years, most of 2019, and then I would try to wrap it in a bow and finish it and it just never felt right. We we did a demo trip up in Michigan in 2020, just the four of us, and that was really fun. We kind of started to jam on it up there, and then it really took in the basement that next year. But we weren’t even really actively working on it as a song – in my memory it was a way to kind of let off some steam and get in tune with one another, almost like a warm up.

At least the second half of 2021, we were sending our practice recordings to Chris to workshop the songs together, and we didn’t end up sending ‘Black Part’ to him until pretty late in the game. But he liked it and encouraged us to keep working on it, so we went into it then with a more intentional idea of figuring out the structure and how long it should be. It kind of just happened very naturally. Marcus suggested adding another vocal part to wrap it up at the end, so that was the very last thing I wrote for the record.

You asked about how it felt to lay it down – we did two takes of it. We knew we could only fit three takes onto a reel of tape, so after take two, we sat down and were like, “We think we might have something good.” I was just befuddled. It’s one of those songs where even still, when I listen back to, I’m like, “Oh my god, oh my god, I hope something doesn’t go wrong.” But it never does. I’m just very grateful that that worked out it. Dave had some sort of magic in his fingers that afternoon.

The cover for the album this wonderful, really photorealistic painting by Jennifer Cronin. What was the collaboration like, and how do think it frames the title and the motifs around the album?

I’ve been a huge fan of Jen’s art for years now, and you nailed her style – it’s just photorealistic to a T. It’s extremely surreal in the way that it’s so photorealistic, just because you don’t realize that it’s a painting necessarily. It’s truly a very unique style that I haven’t really seen elsewhere. I approached her about commissioning two paintings for the record, because she did the front and back covers. The original idea was to have the window be the subject of the painting rather than a person, and to have this amorphous, indistinct, colorful presence within the room, and jive with the feeling of looking for a presence of someone who’s not there anymore, someone that’s left at one point or another – we wanted to leave it kind of open-ended.

She and I had a really wonderful conversation just about themes of the record, and specifically of the title track. It really resonated with her, just these themes of nostalgia and memory, strange loss and grief and place. She likes to take her own reference photos for her paintings, and she was able to go back to her childhood home and take the photo of the album cover that she ended up painting, so there was a personal connection for her as well. The back cover is the reverse perspective, it’s from in inside the room looking out. She just nailed it. It’s hard for me to describe or even really understand, but I feel the emotions of the music when I look at the painting. It just fit perfectly for me.

Did that conversation reveal something to you or put the album into context in a new way?

I think it just made me realize that these are universal themes that we’re touching on and that there’s a real potential there to reach people, connect with people’s stories through the music, and also through the visual presentation of it. I’m not sure if it really illuminated something new in my experience, but it was just wonderful to talk about these things openly with a friend and to hear that it meant something to her.

Could you share one thing that inspires you about each member of the band?

It’s hard to pick one thing. These are like my brothers, I love them deeply. Starting off with Marcus, our drummer, he has this sort of easy confidence in the way he approaches the world. He knows who he is, he knows what he brings to the table, what he’s capable of, and knows what he likes. It’s inspiring to just watch him go through the world and feel so self-assured. That that kind of extends to all of us – I feel more confident playing with him than I have with anyone else. He’s very dependable, and it’s just this feeling of calm reassurance that you know things are gonna go great if he is behind the kit.

Sean is a very old friend, he plays bass. He’s extremely funny. I think it’s important to have those people in your life who are, like, sneaky funny – you might not know upon meeting them for the first time just how witty and fast, and I love that about him. Two things – he’s also extremely tough, physically and mentally. He has the highest pain tolerance. He’s had to deal with chronic illness on the road for many years, and you wouldn’t know without someone telling you. He’s just an extremely resilient individual. I always admire that, as someone myself who has a very low pain tolerance and is kind of a baby a lot of the time. [laughs] I always look to Sean for inspiration on that front.

I mean, Dave is my best friend, my life partner. One thing about Dave that I love is – well, two things – musically, he’s very creative. He can have a part for a song but play it slightly differently each time. He has that ability to improvise or make something feel fresh, even if he’s played it a million times. I don’t find that comes naturally for me, so I look to him for inspiration in that regard. And then, he’s the kind of person that can make friends wherever he goes. Dave makes friends so fast and has this very inviting, authentic demeanor that I think allows people in and helps people feel comfortable right away. He’s really good at making people feel comfortable and safe, and I love that about him.


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

Ratboys’ The Window is out August 25 via Topshelf.

Open City Release New Song ‘Blitz Kids Stay Sick’

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Open City have dropped ‘Blitz Kids Stay Sick’, a new song from their forthcoming sophomore LP Hands in the Honey Jar. It’s the second offering from the album, following ‘Return Your Stolen Property Is Theft’. Check it out below.

“It started as a gut reaction to seeing bands double down on posing hard style in promotional photos, trying to look intimidating in a way that feels, to me at least, tiresome and forced,” guitarist and song lyricist Dan Yemin said of the new track in a statement. “Hardcore punk as a performance of male hostility is limited, tedious, and boring. [The song is] also a response to lyrics that squander opportunities to talk about serious shit.”

Water From Your Eyes’ Nate Amos Announces New This Is Lorelei EP, Unveils Song

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This Is Lorelei – the project led by Nate Amos of Water From Your Eyes and My Idea – has announced a new EP titled EP #33. It lands this Friday, August 25. Lead single ‘The Laughter Remains’ is out today, and you can hear it below.

The four-track collection is “is two pairs of songs from 2021 and 2022,” according to Amos. “Tracks 1 and 2 are from a time when I was newly sober and unsure if I would be able to write anymore, while 3 and 4 are from the tail end of an intensely productive creative period nearly a year later. More than 60 songs were written in between tracks 2 and 3. It’s a document that bookends my personal process of realizing that I could successfully write in the absence of substance abuse.”

“In ‘The Laughter Remains’ an unnamed narrator observes an angel singing to a dying bird on a beach,” Amos explained. “Inspired by the waltzes of Shane MacGowan and the poetry of Emily Dickinson, I wrote it as a song of comfort for myself at a time when I was undergoing intense therapy and felt in the midst of a painful but ultimately worthwhile personal transformation. Music is and always has been an outlet for me, but in this particular case it really gave me a boost when I felt unboostable. Listening to the song now I realize that I was more equipped to navigate emotionally tumultuous terrain than I gave myself credit for at the time. It’s a song about a future that is always there, in one form or another, and will always be worth looking forward to.”

Check out our Artist Spotlight interview with Water From Your Eyes.

EP #33 Cover Artwork:

EP #33 Tracklist:

1. Dollars in the Dark
2. Hollered That Cry On The Pasture
3. Lullabies and Glue or My Brother
4. The Laughter Remains