Militarie Gun have dropped a new single, ‘Will Logic’, taken from their upcoming debut album Life Under the Gun. Check it out below.
“‘Will Logic’ is meant to be pure spite, it’s the moment of realisation that someone is trying to take advantage of you and deciding you won’t allow it to happen,” vocalist Ian Shelton said in a statement. “There’s some melancholy and fatigue in there, though ultimately it’s a desire for the world to be trustworthy.”
Skagen has launched its latest limited edition collection with New York-based studio Jeremyville. In an exciting collaboration, the renowned studio crafted a bespoke artwork, capturing the vibrant essence of Skagen’s world through their distinctive and exciting art style. Drawing inspiration from Danish motifs such as lighthouses, sailing boats, and anchors, the original artwork was the foundation for creating exclusive watches and jewellery, infusing the wearers with a delightful sense of joy and playfulness.
Talking about the campaign, Ian Miller, global director of concept and design at Skagen stated “All of us on the Skagen team are big fans of Jeremyville’s fun, interruptive artistry and creativity, especially his Community Service Announcements project, a global public art
movement to bring positivity and reflection into the everyday. We’re thrilled to have
collaborated with Jeremyville on this capsule collection that captures the perfect summer
day on the coast of Skagen’, says Ian Miller, Global Director of Concept and Design.”
On April 27th, the highly anticipated Jeremyville x Skagen collection was unveiled, introducing two distinct watches within Skagen’s classic platform, Grenen. Crafted in limited quantities, these timepieces are available in 37 mm and 26 mm case sizes, and each one boasts a leather strap, precise 3-hand movement, resilient K1 crystal, and a captivating layered dial that brings the artwork to life with added depth.
On May 10, 1932, the Japanese media erupted with news regarding a recent tragedy at Mount Sakata in Kanagawa Prefecture. The bodies of Keio University student Goro Chosho and his girlfriend Yaeko Yuyama had been discovered on the slopes, the former clad in his school uniform, the latter wrapped in a kimono. As subsequent investigations determined, the couple had been forbidden to marry by Yuyama’s upperclass parents, and so they climbed the mountain, lay down next to one another facing the sea, and poisoned themselves.1 Capitalizing on the two having met at a Christian fellowship, Tokyo Nichinichi Shinbun ran a headline describing Chosho and Yuyama’s relationship as “A Love That Reached Heaven.”2 Resultant sensationalism and interest in their suicide spawned imitative effects throughout Japanese society—indicative of the public’s relation to the media at the time.
As historian Peter High notes in his book The Imperial Screen: Japanese Film Culture in the Fifteen Years’ War, 1931-1945: “Japanese social historians tend to sketch out the course of 1930s cultural history along a time line of consecutively occurring incidents and fads.”3 Granted, the impulse to emulate tragedy had been prevalent long before. In May 1903, eighteen-year-old philosophy major Misao Fujimura became a celebrity when he jumped from Kegon Falls after carving his farewell poem into a nearby tree. Over the next four years, more than a hundred and eighty people, inspired by news portraits of Fujimura as a martyr, attempted to kill themselves at the falls.4 Imitation of publicized suicides—especially those involving spiritual or erotic overtones—remained fervent in 1932, as demonstrated in what became known as “The Lovers’ Suicide Rage.” Within seven months of Chosho and Yuyama’s passing, over twenty couples traversed to Mount Sakata to end their lives.5
Concurrent with the copycat suicides was a surge in exploitative entertainment: radio dramas and stageplays about Chosho and Yuyama, romantic ballads released as bestselling records. Sure enough, the motion picture industry joined in on the craze. Yasujiro Ozu’s Where Now Are the Dreams of Youth? (1932) referenced the death toll through a jab of sardonic comedy: a young business executive, stuck escorting a woman his peers hope he’ll marry, suggests they go to Mount Sakata for a date. But perhaps most infamous was a feature-length dramatization of the original incident produced by Shochiku. Titled after the earlier mentioned Tokyo Nichinichi Shinbun headline, Heinosuke Gosho’s A Love That Reached Heaven premiered on June 10, 1932—exactly one month after the news stories first broke.6
Where Now Are the Dreams of Youth? (1932)
While the picture’s now lost and information remains scant (Arthur Nolletti, Jr.’s sizable book on Gosho merely acknowledges it via two brief sentences), A Love That Reached Heaven became one of that year’s biggest releases, recuperating its five thousand-yen budget7 and then some. (Its popularity might’ve also stemmed from casting, as leads Ryoichi Takeuchi and Hiroko Kawasaki had been in the public eye before. Takeuchi became a tabloid favorite in 1927 for walking off a set with actress Yoshiko Okada.8 And in 1931’s Women Are in Every World, Kawasaki performed with Ichiro Yuki what’s believed to have been the first kiss in a Japanese motion picture; filmed when Japanese censorship strictly forbade love scenes, the kiss slipped into distribution only because Yuki distracted the censor in the screening room, the film subsequently withdrawn after a police officer spotted the scene during a theater patrol.)9
Widespread interest in Shochiku’s film spawned additional copycat suicides. Theater owners learned of moviegoers smuggling poison into the auditorium, and thus dispatched usherettes to monitor screenings for attendees attempting to take their lives during the drama. Sadly, “The Lovers’ Suicide Rage” worsened from here. In January 1933, two schoolgirls leaped into the stratovolcano Mount Mihara on Izu-Oshima Island, the news triggering a second wave of suicides that lasted until March—by which time approximately 944 people had perished in the caldera. The media remained quick to sensationalize. Responding to macabre public speculation, Yomiuri Shinbun newspaper lowered a gondola into the volcano to determine whether the victims had crashed onto the rocks or plunged straight into the magma.10
Meantime, Izu-Oshima’s local commerce boomed: stables increased their stock of horses, local schools started pilgrimage trips to Mount Mihara, and Tokyo steamship companies met the travel demand of anxious tourists by scheduling additional commutes to the island.11 By the time the rage finally subsided in spring 1933, one thing had been proven: the media and society together remained ravenous in their capitalizing on calamity. As Peter High writes in his book, what started as the personal tragedy of two people “was dramatically reworked, first by the press […] into a mass hysteria phenomenon of almost majestic proportions.”12
Works cited and further reading:
Di Marco, Francesca. “Act or Disease? The Making of Modern Suicide in Early Twentieth-century Japan.” The Journal of Japanese Studies, vol. 29, no. 2 (Summer 2013), p. 347
High, Peter B. The Imperial Screen: Japanese Film Culture in the Fifteen Years’ War, 1931-1945. Madison: University of Wisconsin Press, 2003, p. 28 (Disclaimer: I should note that High’s book claims the couple died by jumping into the mountain’s volcanic crater; but, when cross-referenced with other sources, this doesn’t appear to be the case.)
Ibid, p. 27
Di Marco, p. 336
Ibid, p. 348
Di Marco, p. 348
Haukamp, Iris. A Foreigner’s Cinematic Dream of Japan: Representational Politics and Shadows of War in the Japanese-German Coproduction New Earth (1937). London: Bloomsbury Publishing, 2020 (Ebook)
Wada-Marciano, Mitsuyo. Nippon Modern: Japanese Cinema of the 1920s and 1930s. Honolulu: University of Hawaii Press, 2008, pp. 95-6
Hirano Kyoko. Smith Goes to Tokyo: Japanese Cinema Under the American Occupation, 1945-1952. Washington, D.C.: Smithsonian Institution Press, 1992, p. 154
High, pp. 28-9
Yoda Hiroko. “Spooky Izu: Tales of sorcerers and suicide on Izu Oshima.” CNN. 29 October 2009
Prolific Japanese humanist filmmaker Hirokazu Kore-eda returns to Cannes after last year’s middling Broker. At a glance, Monster is an aesthetic departure. The film opens with a building engulfed in smouldering flame and moves forward with uncharacteristic darkness. Following an increasingly distraught mother’s investigation into her son’s erratic behaviour, Kore-eda plunges into nightscapes roamed by haunted youths. Narratively, the movie trisects into three acts, each shifting character perspectives to re-visit earlier moments through new eyes. The plot-twist riddled mystery structure reveals its early passages as red herrings adjacent to the emotionally simplistic story it settles into. The film’s narrative trickery reads disingenuous to its stabs at sincerity. Even Ryuichi Sakamoto’s piano accompaniment—a tender final score from the late maestro—is squandered by the film’s tendency towards histrionics.
Kore-eda leaves nothing to interpretation. Monster hyper-rationalizes every character decision, robbing each individual’s psychology of any mystery. Even the source of textural details (e.g. a haunting blare of horns echoing diegetically in the distance of a pivotal scene) finds narrative contextualization later. Still, Kore-eda includes a handful of moving shots: namely a lingering composition where two characters slam fists against a mud-coated window, struggling to shatter the glass as rainfall accelerates, growing so heavy it drowns out the visibility of their hands. It’s enough to wish Kore-eda’s filmmaking embraced a visceral film language more often. [2.5/5]
The Sweet East by Sean Price Williams
Sean Price Williams, whose cinematography defined a pervading aesthetic of 2010s American indie cinema, makes his debut feature with The Sweet East: an episodic nightmare comedy across state lines and into an all-American underbelly. The film follows Lillian, a runaway teenager drifting through a series of misadventures, encountering a million shades of American eccentricity and exploitative men at every turn. Lillian herself is an enigma, her own identity gradually sculpted through imprints of the characters she encounters. The Sweet East finds Williams’ gritty aesthetic imbued with flashes of absurdity (e.g., an opening music number, moments of fantastical artifice, silent-film intertitle chapter headings, etc.). Yet while his images are textured and strikingly-composed, Williams’ storytelling is largely sophomoric.
The film’s a self-consciously blunt satire of everything under the American flag; it opens with a pledge of allegiance recorded over motorcycle stunt footage and only grows less subtle. The film begins like arthouse All Gas No Brakes or a Harmony Korine movie if he settled for toothless irony. Soon enough, Sweet East becomes a thirty-minute Lolita adaptation, down to its Humbert Humbert-figure (Simon Rex as a slimeball neo-Nazi academic predator) reciting Poe’s “Annabel Lee.” Scripted by film critic Nick Pinkerton, the movie’s humour seems plucked from a milieu of nihilistic, early Trump-era Twitter memes. The film begins with a Pizzagate gag and stays beholden to the humour of this outdated zeitgeist. Ultimately, Sweet East operates on satire but reveals no true ideology. The movie is shapelessly ironic, nothing more than an articulation of doom. It’s apocalyptic fury distorted into grand apathy. [2/5]
Youth (Spring) by Wang Bing
Assembled over five years, Chinese documentarian Wang Bing’s latest film Youth (Spring) charts the lives (work lives, personal lives) of several teenage or twenty-something textile workers in Zhili, China. Their worlds consist of long hours toiling with fabric and collective bargaining with employers over unliveable payrates, all the while navigating the joys and hardships of youth. As a documentarian, Wang’s access into his subjects’ worlds is startlingly thorough. He films in domestic quarters, cramped workshops, and the streets of Zhili. Youth unfolds against industrial backdrops overrun with garbage. Wang cultivates an aesthetics of refuse: the waste which floods the streets, accumulates in the subjects’ dormitories, or remains on the workshop floor after a day of textile labour.
An invaluable documentation of Chinese labour politics, Youth centers the workers themselves as more than mere tools in the chain of production. Much of the movie unfolds as durational shots of workers working: hands operating sewing machines with aggressive familiarity. Wang is a silent observer (though he’s occasionally acknowledged by subjects). He organizes the movie around the rhythms and repetitions of his subjects’ lives, rather than narrative practicality or any didactic thesis. The film’s length and slowness paint an immersive portrait of a working-class day-to-day: a film form aligned with its subjects’ reality. [4/5]
The Delinquents by Rodrigo Moreno
The latest from Argentine filmmaker Rodrigo Moreno is a laidback, three-hour crime-comedy about two middle-aged bankers crushed by the tedium of their daily lives and the impossibility of escape. One devises a plan. He robs a sizeable amount from the bank vault. Before surrendering to authorities, he leaves the stolen fortune with his co-worker to guard for his three-and-a-half-year prison sentence. The film parallels the aesthetics of a bank vault with the interior of a prison compound, establishing a world where wage labour is indistinguishable from carceral life.
Moreno highlights his characters’ ennui, charging his low-stakes drama with an everyday desperation. The spoils of the characters’ crime are modest. The small sum is an appeal to an earned dignity unachievable in their work life. The Delinquents moves forward with ease, its careful framing unafraid to omit its subjects. There are some missteps—namely a late-film flashback sequence which complicates the minimalist storytelling—but Moreno displays tremendous control of the characters and their suffocating environments. [3.5/5]
About Dry Grasses by Nuri Bilge Ceylan
Here’s another Chekhovian drama set against forlorn wintery landscapes from Turkish filmmaker Nuri Bilge Ceylan. As usual, it’s a saga of arrogance and petty insecurities. About Dry Grasses follows a schoolteacher in remote Anatolia as he gradually succumbs to a miserablist worldview. The film finds its footing late: a half-hour dialogue between two characters which evolves from cordial to combative to melancholically sexual is among Ceylan’s best work. Otherwise, this lacks the intimacy of Ceylan’s smaller canvas movies (e.g. Distant) and the sweeping drama of his other epics (e.g. Winter Sleep). About Dry Grasses often feels like a rehash, too comfortable with itself for the story’s aching isolation to resonate. [2.5/5]
Eureka by Lisandro Alonso
Eureka, the long-awaited follow-up to Lisandro Alonso’s Jauja, is the filmmaker’s most ambitious project to-date. A free-flowing narrative, the story begins as a bullet-frenzied, classic western on a TV screen, moves into a modern-day South Dakota indigenous reservation, then glides to the jungles of 1970s Brazil. Alonso’s camera dissolves borders of space and time, establishing its own fluid continuity. Usually, the turns in Alonso’s movies are understated: vague ripples in an otherwise minimalist work. In Eureka, the shifts are abrasive and unmissable. Still, despite the magnitude of its zig-zags, the narrative flow isn’t quite as radical as you’d hope from a unique filmmaker like Alonso (especially after the similar narrative movements in Lois Patiño’s Samsara). The gestures feel vaguely hollow.
Nonetheless, individual moments in Eureka are vivid and beautiful. Alonso’s imagining of the Old West as a lawless Sodom, complete with boozehound nuns, is as imaginative as anything he’s made. The sequence’s irresistibility makes its role in the larger film all the more complex; Alonso situates Old West mythology in opposition to indigenous histories and realities. Curiously, Eureka is most energized trafficking in its own subversive séance of Old West debauchery. [3.5/5]
In promotional materials, Gag Order is billed as a “post-pop” record exploring themes of empowerment and self-discovery. You can debate the “post-pop” part – it’s certainly not a standard pop album – and self-discovery is inevitable, but Kesha does not sound particularly empowered on Gag Order. She doesn’t seem too interested in giving the world another empowerment anthem at this stage: “I feel safest in the silence/ And I’m so goddamn sick of fighting,” she sings on ‘Fine Line’, resisting any kind of neat narrative. It makes sense. For one thing, her years-long legal battle with her former producer Dr. Luke, who she accused of sexual and emotional abuse (and whose label she is still technically signed to), is ongoing. There’s no “used to” in her darkness; no rainbow in sight, or really any metaphor to cling to. There’s no standout like ‘Praying’ to carry the weight of it all. “I let my darkness have the light,” the singer wrote in a manifesto for the new album. “I can’t fight the truth.” So she doesn’t try.
But she’s still determined to bring color to the swirl of emotions she’s had to bear up against, and the ways she goes about it are both strange and often intriguing. Kesha may not have a reputation for being a boundary-pushing pop artist, but the journey towards maturity that has marked her output since 2017’s Rainbow has not exactly been a conventional one. (Let me remind you that that album, perhaps best remembered for trading in elements of folk and country, included an Eagles of Death Metal collaboration in which Kesha told “all the haters everywhere” to “suck my dick.”) By 2020’s High Road, Kesha was more audibly torn between her image as a carefree pop star and a more introspective songwriter, leaving the album feeling muddled and conflicted. On her latest, produced by Rick Rubin, she continues to embrace uncertainty but strips the freneticism out of her approach. Still unable to speak openly about her experience, her anger drudges into weariness more often than it’s turned outward. Like her most recent albums, Gag Order doesn’t exactly stick to a single lane, but it’s pervaded by the same dour mood even as it flits between styles.
The first thing you’ll notice about the album is its stark, minimalist production, which hangs ominously over the first two tracks, ‘Something to Believe In’ and ‘Eat the Acid’. The subtlety suits her, building tension without making much of a statement. You immediately get the sense that Kesha is in search of something rather simply trudging around, careful with her words but in tune with her feelings, which the music conveys by persistently hinting at a bigger revelation that might never fully arrive. Even a ballad like ‘Hate Me Harder’, which is filled with righteous conviction, avoids the traditional payoff you’d expect, giving the impression that Kesha and her collaborators are more focused on tracing the actual trajectory of her emotions, as unsettled as they may be. “There’s a fine line between hope and delusion/ Between what’s right and what we’ve just gotten used to,” she sings, her self-awareness colouring every jarring shift and bold declaration.
Gag Order has more than a few of those. When she ends ‘Fine Line’ with the obliterating lyric, “But hey, look at all the money we made off me,” the transition to the brash, stomping beat of ‘Only Love Can Save Us Now’ feels both necessary and a little tongue-in-cheek. Unfortunately, the song’s gospel-inspired chorus sounds stiff and generic, dampening its message. For an album that lacks vibrancy but not spirit, it’s a shame the music struggles to communicate the spiritual awakening that inspired it in a way that gels with the album’s flow. There’s an interlude from the late guru Ram Dass, while the Indian mystic Osho is sampled on ‘All I Need Is You’, and 80-year-old wizard Oberon Zell features on ‘Happy’. But their voices aren’t integrated in a way quite as compelling or immersive as, say, the appearance of Judah Smith on Lana Del Rey’s latest album. There’s no reason why Kesha shouldn’t lean into the eeriness that’s found elsewhere on the album even when the guidance she receives is more grounded than ambivalent.
More moving and disarming is the album’s raw vulnerability, which can be heard on tracks like ‘Living in My Head’ and the lovely ‘All I Need Is You’. Kesha wrote the first in the middle of a panic attack, and it sounds a little terrified of its own existence: “Every time I listen to ‘Living in My Head’ I just want to curl up in a ball and hide,” she said in an interview. But there’s really not much evidence of hiding on Gag Order, and more impressively, not much showing off either. Although a few songs feel somewhat undercooked, there is a simmering intensity to the album that feels fresh, a sign that Kesha is becoming more comfortable following her instincts rather than having to choose between them. She’s not looking to prove anything, just finding new ways to persevere.
Kasa Overall has shared a new track, ‘Going Up’, which features contributions from Lil B, Shabazz Palaces’ Ishmael Butler, and Francis and the Lights. It’s the latest single from his upcoming album ANIMALS, following ‘Ready to Ball’, ‘Make My Way Back Home’, and ‘The Lava Is Calm’. Check it out below.
Bonnie ‘Prince’ Billy has announced his first solo album in four years. It’s called Keeping Secrets Will Destroy You, and it arrives August 11 via Drag City. Lead single ‘Bananas’, a duet with Dane Waters, comes with a video made by Ethan Osman. Check it out and find the album’s cover art and tracklist below.
Keeping Secrets Will Destroy You, which follows 2019’s I Made a Place, was recorded with Nick Roeder in Louisville. Along with Waters on backing vocals, it features Sara Louise Callaway on violin, Kendall Carter on keys, Elisabeth Fuchsia on viola and violin, Dave Howard on Mandolin, and Drew Miller on saxophone.
In 2021, Bonnie ‘Prince’ Billy put out two collaborative records: Superwolves with Matt Sweeney and Blind Date Party with Bill Callahan.
Keeping Secrets Will Destroy You Cover Artwork:
Keeping Secrets Will Destroy You Tracklist:
1. Like It or Not
2. Behold! Be Held!
3. Bananas
4. Blood of the Wine
5. Sing Them Down Together
6. Kentucky Is Water
7. Willow, Pine and Oak
8. Trees of Hell
9. Rise and Rule (She Was Born in Honolulu)
10. Queens of Sorrow
11. Crazy Blue Bells
12. Good Morning, Popocatépetl
The good people of Ireland love trying their at online casino games, and they love it when they get to make use of bonuses, especially daily free spins. Due to the importance of enticing new players to open an account, many online casinos now offer free spin bonuses. So, with this in mind, in this guide we are going to tell you all that you need to know about such bonuses.
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So, now that you have a good understanding as to what free spins are, you are probably wondering how you go about claiming them as part of a welcome bonus. Well, check out the step-by-step guide below:
Find an online casino that is offering free spins and start the sign-up process – you’ll need to hand over some personal information like you full name, email address, house address, and date of birth.
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If you do find a free spins bonus where you can use the spins on offer on any slot game that you wish, then look to play those slots with a high RTP. If you are new to iGaming, then the RTP indicates a theoretical percentage that the slot will give back to players. For instance, if a slot has an RTP of 96.4%, then it indicates that for every €100 bet, it will pay back a total of €96.40. However, keep in mind that this is a theoretical figure which is based on thousands of spins of the reels, so you are never guaranteed such returns. Despite this, slot games with a higher RTP are more likely to pay out than those with a lower RTP.
When making use of free spins, you will not be spending your own money, but you will need to in order to complete any wagering requirements attached to any winnings that you make. Whenever you are spending your own hard-earned money, it is of the utmost importance that you gamble responsibly and do not spend more money than you can afford to lose. We recommend that you come up with a budget for every gambling session and stick to it.
Throughout the week, we update our Best New Songs playlist with the new releases that caught our attention the most, be it a single leading up to the release of an album or a newly unveiled deep cut. And each Monday, we round up the best new songs released over the past week (the eligibility period begins on Monday and ends Sunday night) in this best new music segment.
On this week’s list, we have Kylie Minogue’s thumping, infectious dance banger ‘Padam Padam’; Róisín Murphy’s ‘The Universe’, a whole different kind of jam that filters gratitude with absurdity; Hannah Jadagu’s ‘Lose’, which is both vulnerable and catchy; ‘You’ll Never Get Your Money Back’, a soaring breakup anthem from Alex Lahey’s new album; Lande Hekt’s jangly yet poignant new single ‘Pottery Class’; ‘All and Everything’, a hauntingly dramatic yet exhilarating standout from Mega Bog’s latest album; the lead single from Chris Farren’s new LP Doom Singer, a track that sounds big and thrilling enough to earn the title ‘Cosmic Leash’; and Julie Byrne’s ‘The Greater Wings’, a radiant, gorgeous embrace of a song.
Foo Fighters have announced that their new drummer is Josh Freese, replacing longtime Foo Fighters drummer Taylor Hawkins, who tragically passed away last year. The band confirmed the news Sunday during their livestream Foo Fighters: Preparing Music For Concerts, which was recorded at the band’s 606 Studios the group’s 606 studios in Northridge, California. The livestream began by teasing that famous drummers including Chad Smith, Tommy Lee, and Danny Carey would join the lineup before Freese was ultimately revealed as their new drummer.
A prolific session musician, Freese has played and recorded with everyone from Guns N’ Roses to Nine Inch Nails to Paramore to Sting. At last year’s Coachella, he played with both 100 gecs and Danny Elfman on the same day. He also performed with the Foo Fighters during both tribute shows to Hawkins last year.
Foo Fighters’ summer tour, which will take them across North America and Europe, kicks off May 24 in Gilford, New Hampshire. Their new LP But Here We Are comes out June 2.
