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Albums Out Today: Wednesday, Yaeji, Jana Horn, Daughter, and More

Konstantinos Pappis
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Albums Out Today: Wednesday, Yaeji, Jana Horn, Daughter, and More

In this segment, we showcase the most notable albums out each week. Here are the albums out on April 7, 2023:

Wednesday, Rat Saw God

Wednesday have released their new album, Rat Saw God, via Dead Oceans. The 10-song LP was written in the months immediately after the completion of 2021’s Twin Plagues and was recorded in a week at Asheville’s Drop of Sun Studios. “I really jumped that hurdle with Twin Plagues where I was not worrying at all really about being vulnerable – I was finally comfortable with it, and I really wanna stay in that zone,” Karly Hartzman said of her lyrical approach, adding, “Everyone’s story is worthy. Literally every life story is worth writing down, because people are so fascinating.” Ahead of its arrival, the band previewed the record with the singles ‘Bull Believer’, ‘Chosen to Deserve’, ‘Bath County’, and ‘TV in the Gas Pump’. Read our five-star review of Rat Saw God.

Yaeji, With a Hammer

Yaeji has dropped her debut studio album, With a Hammer. Following her 2020 mixtape What We Drew, the LP includes the previously released singles ‘For Granted’, Done (Let’s Get It)’, and ‘Passed Me By’. “I want to begin this album with intent,” Yaeji wrote in a statement. “I want to take all that I’ve suppressed and let it breathe and live through this process of creation. I want my music to be free. So I started writing a story about me and my hammer. A hammer crafted from my anger.” Read our review of With a Hammer.

Jana Horn, The Window Is the Dream

Texan songwriter Jana Horn has followed up her debut album, Optimism, with a new LP called The Window Is the Dream, via No Quarter. It was preceded by the tracks  ‘The Dream’, ‘After All This Time’, and ‘Days Go By’.  “When I was writing Optimism, I was just everywhere all the time, nowhere at the same time – very transient, hopping from house to house, from experience to experience,” Horn explained in our Artist Spotlight interview. “And [The Window Is the Dream] was very much written after a long day of writing and a long day of reading. I was kind of just dumping the day into this, like, ‘I’ll just sit here and I’ll play two chords, and I’ll wind myself down, kind of settle this stirring into something.'”

Daughter, Stereo Mind Game

Daughter are back with their first studio album in seven years. Out now via 4AD, Stereo Mind Game follows 2016’s Not to Disappear and the 2017 video game soundtrack Music from Before the Storm. Ahead of its release, the trio of Elena Tonra, Igor Haefeli, and Remi Aguilella unveiled the songs ‘Be On Your Way’, ‘Party’, and ‘Swim Back’. Haefeli and Tonra co-produced the LP, which was written in various locations including Devon, Bristol and London in the UK, and San Diego, Portland, and Vancouver in the US.

Fire-Toolz, I am upset because I see something that is not there.

I am upset because I see something that is not there. is the latest album by Fire-Toolz, the moniker of producer, composer, and multi-instrumentalist Angel Marcloid. Following 2022’s Eternal Home and the I will not use the body’s eyes today. EP, the collection takes its title from A Course in Miracles, a spiritual self-study program published in the 1970s. According to press materials, I am upset […] reflects “Marcloid’s intense desire to see through the delusions that result from trauma, to perceive reality without distortion or fear, to find union with omni-theological God/Spirit, to experience being fully known and fully loved.”

Billie Marten, Drop Cherries

Billie Marten has unveiled her fourth album, Drop Cherries, via Fiction Records. Featuring the singles ‘Nothing But Mine’, ‘This Is How We Move’, and ‘I Can’t Get My Head Around You’, the follow-up to 2021’s Flora Fauna marks the first time that Marten serves as both a writer and co-producer (with Dom Monks) on one of her records. In press materials, she explained: “Dropping cherries is such a strong, visceral image that I tried to channel throughout recording in Somerset and Wales, to capture the vibrancy, unpredictability, and occasional chaos one experiences within a relationship. Imagine stamping blood-red cherries onto a clean, cream carpet and tell me that’s not how love feels.”

Heather Woods Broderick, Labyrinth

Heather Woods Broderick’s fifth album, Labyrinth, has come out via Western Vinyl. In the lead-up to the release, the singer-songwriter shared the tracks ‘Blood Run Through Me’, ‘Crashing Against the Sun’, ‘Admiration’, and ‘Wherever I Go’. “Many of us yearn for stillness and peace, as an escape from the movement all around us,” Broderick said of the album’s themes. “Yet movement is perpetual, happening all the time on some level. It’s as wild as the wind, yet eternally predictable in its inevitability. It is linear in part, but infinite in its circuitry. Our lives just punctuate it.”

Blondshell, Blondshell

Blondshell, the project of 25-year-old musician Sabrina Teitelbaum, has put out her debut self-titled album. Yves Rothman produced the record, which features the promotional singles ‘Olympus’, ‘Kiss City’, ‘Joiner’, and ‘Salad’. “I always want to make people feel like they have more power and control and peace because I know what it feels like to want that for myself,” Teitelbaum said in a press release. “I know how music has helped me get there. What I’ve realised I need to do is write realistically, and try to not bring shame into the writing. Each song gave me more confidence. I hope the songs help people in that way, too.”

Tim Hecker, No Highs

Tim Hecker has issued his latest LP, No Highs, via kranky. Following 2019’s Anoyo, the album features contributions from saxophonist Colin Stetson along with Hecker’s mix of strings, processed electronics, horns, and cathedral keys. According to a press release, “Hecker mentions ‘negation’ as a muse of sorts – the sense of tumult without bombast, tethered ecstasies, an escape from escapism. His is an antagonism both brusque and beguiling, devoid of resolution, beckoning the listener ever deeper into its greyscale alchemies of magisterial disquiet.”

Issei Herr, Distant Intervals

Distant Intervals is the debut full-length by Brooklyn-based cellist and composer Issei Herr. Released today via NNA Tapes, the album was self-recorded entirely in Herr’s bedroom and weaves together layers of overdubbed cello and processed samples. It closes with the previously shared ‘Aveu (The Beginning Is a Farewell)’, a collaboration with Maria BC, while a press bio concludes with the following quote from José Esteban Muñoz’s Cruising Utopia: “We may never touch queerness, but we can feel it as the warm illumination of a horizon imbued with potentiality. We have never been queer, yet queerness exists for us as an ideality that can be distilled from the past and used to imagine a future.”

HMLTD, The Worm

HMLTD have returned with The Worm, which follows the South London band’s 2020 debut West of Eden. The new LP was created over the course of two years with a cast of 47 musicians, including a gospel choir and a 16-piece string orchestra. Introducing the concept behind The Worm, frontman Henry Spychalski shared: “We’re told to believe that anxiety and depression are purely material and biological – like a parasitic worm that can be removed with the right treatment. I think that really these conditions reflect the world that surrounds us – like colonies that a far bigger Worm has made in each of us – the psychological havoc wreaked by our inescapable capitalist reality and the looming apocalypse it has created.”

Other albums out today:

Thomas Bangalter, Mythologies; Ellie Goulding, Higher Than Heaven; Rae Sremmurd, Sremm 4 Life; FACS, Still Life In Decay; Worriers, Warm Blanket; Desire Marea, On the Romance of Being; Hayden, Are We Good; µ-Ziq, 1977; Ruston Kelly, The Weakness; Mudhoney, Plastic Eternity; Daniel Caesar, NEVER ENOUGH; Susanna Hoffs, The Deep End; Josephine Foster, Domestic Sphere; foil, On the Wing; Nondi_, Flood City Trax.

Labrinth and Billie Eilish Team Up for New Song ‘Never Felt So Alone’

Konstantinos Pappis
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Labrinth and Billie Eilish Team Up for New Song ‘Never Felt So Alone’

Labrnith has enlisted Billie Eilish for a new song called ‘Never Felt So Alone’. Listen to it below.

Speaking about the collaboration in an interview with Eddie Francis on Apple Music 1, Labrinth said:

I’ve been a fan of Billie for a long time. I think she’s an amazing artist. I remember Noah [Cyrus] was doing some of the same shows Billie was in that time, and everybody kept on coming back talking about this Billie Eilish girl. Then I think the first time I heard her on a record was ‘bury a friend’. And I was just like, “This is a sick record.” I had met Finneas years before her. We just did the studio session together, and I just loved his vibe. I was like, “I just…” I don’t know. I was like, “I think I’m ready to make this idea into a song.” Once I started piecing the song together, I was just like, “Do you know what? I think this is the moment where I think Billie would be a sick addition.” I just sent it to her and Billie… I didn’t know she’s been a fan for years. She told me. When we spoke, she was like, “Lab, I’ve been listening to your music for years.” I was like, “What?” It was like, “Billie? What? You?” She was like, “Yeah, been a fan.” She was like, “I love this song as well, so I would love to do it with you.” That was big for me because I felt like we both get each other musically. It didn’t feel foreign to me, and I love what she’s done on the record.

Last year, Labrinth shared the singles ‘Lift Off’, ‘Kill for Your Love’, and ‘Iridium’. Eilish’s most recent album, Happier Than Ever, came out in 2021.

Dinner Party Announce New Album ‘Enigmatic Society’, Share New Song ‘For Granted’

Konstantinos Pappis
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Dinner Party Announce New Album ‘Enigmatic Society’, Share New Song ‘For Granted’

Dinner Party – the group comprising Kamasi Washington, Terrace Martin, and Robert Glasper – have announced their sophomore album, Enigmatic Society. The follow-up to their 2020 self-titled debut arrives next Firday, April 14. It includes guest appearances from Tank, Arin Ray, Ant Clemons, and Phoelix. Arin Ray features on the new single ‘For Granted’, which is out today. Check it out and find the album’s cover art and tracklist below.

Following the release of Enigmatic Society, Dinner Party are set to perform at both weeks of Coachella later this month.

Enigmatic Society Cover Artwork:

Enigmatic Society Tracklist:

1. Answered Prayer [feat. Phoelix]
2. Breathe [feat. Arin Ray]
3. Insane [feat. Ant Clemons]
4. Watts Renaissance
5. For Granted [feat. Arin Ray]
6. Secure [feat. Phoelix & Tank]
7. Can’t Go [feat. Phoelix]
8. The Lower East Side
9. Love Love [feat. Arin Ray]

Drake Shares New Single ‘Search & Rescue’

Konstantinos Pappis
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0
Drake Shares New Single ‘Search & Rescue’

Drake is back with a new song called ‘Search & Rescue’, which he announced on Instagram earlier this week. The Kim Kardashian-sampling track was produced by Noah “40” Shebib, Lil Yachty, Sadpony, Wesley Curtis, and Bnyx. Give it a listen below.

‘Search & Rescue’ follows Drake’s appearance on Popcaan’s ‘We Caa Done’ in January. Last year, he released Honestly, Nevermind and his collaborative LP with 21 Savage, Her Loss.

Luscious Jackson’s Vivian Trimble Dead at 59

Konstantinos Pappis
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Luscious Jackson’s Vivian Trimble Dead at 59

Vivian Trimble, the keyboardist and vocalist of Luscious Jackson, has died. The band revealed the news on Facebook, writing that she died of a complication after years of battling cancer. Trimble was 59.

“We are heartbroken to announce the passing of our beloved friend and band member Viv on Tuesday,” the band’s statement reads. “We were not expecting this. She was a great friend and a gifted musician and choreographer, but it was being a partner to David and a mother to Nate and Rebecca that gave her the greatest joy. We are devastated beyond words to lose our graceful sister.”

Luscious Jackson formed in 1991 as a trio composed of Jill Cunniff, Gabby Glaser, and Trimble. Drummer Kate Schellenbach joined them shortly after, and together they released one EP and two albums – 1994’s Natural Ingredients and 1996’s Fever In Fever Out – on the Beastie Boys’ Grand Royal label. Trimble left the band prior to the release of their 1999 LP Electric Honey. While Luscious Jackson reunited in 2011, Trimble opted not to join.

In addition to Luscious Jackson, Trimble and Cunniff formed a band called Kostars that released an album called Klassics With A “K” in 1996. It was produced by Breeders bassist Josephine Riggs, with whom Trimble had a duo called Dusty Trails. They released a self-titled album in 2000.

Album Review: Yaeji, ‘With a Hammer’

Konstantinos Pappis
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Album Review: Yaeji, ‘With a Hammer’

With a Hammer slips into unknowable territory. Yaeji’s past work has done that too – the Korean-American artist’s 2020 mixtape What We Drew, her first for the storied UK label XL, veered away from the club-oriented dance music of previous releases and into something more ambient, introspective, and diffuse. Even as her musical instincts once again guide her in different directions, her debut album, like What We Drew, chronicles the push-and-pull between anxiety and confidence, community and solitude, weaving catharsis out of the most uncertain corners of that internalized space. Take the lead single ‘For Granted’, whose emotional core – fluctuating as it does between sincere gratitude and unease around the unexpected goodness of her life – feels like such a continuation of the reflections on What We Drew that it feels wrong to call the With a Hammer a departure. It’s only a different, more solidified kind of arrival, one that still stirs up more questions than it answers.

What is the emotion that Yaeji wields on the record? “It’s abstractly about how anger is shapeshifting and how it passed through me,” she said in a recent interview. If anger is the closest approximation, how long has it been there, and what new forms can it take? Does channeling it imply destruction as literal as the album’s title, or is it more about the silence it leaves behind, somehow freer than the silence of repression? This probing is a slippery practice, but since Yaeji understands the task at hand, the songs on With a Hammer bristle, as she promised, with intention. And that consciousness transforms into a sense of purpose, which she lays out on ‘Done (Let’s Get It)’: “Isn’t it our mission this life to break the cycles/ Make it make you/ Mend the cycles.” Introducing the album’s themes, ‘Submerge FM’ opens with fluttering orchestration that’s both playful and immersive, making the futures we can’t see, the stuff of dreams, feel livable.

While With a Hammer coheres together, the logic it follows is non-linear, and any defiance it offers is more cheeky than resolute. It’s a drifting record, and it only drifts into bubbly escapism once, on ‘Away x5’, which serves as a lovely late-album treat rather than a centerpiece. ‘Ready or Not’ is subtler than you’d imagine any electronic track built around the line “Ready or not, here I come,” but it embodies the disorientating shift from stifling isolation to reentering the world with both urgency and vulnerability. “Ever since I was young/ My mood swings depended on weather/ Here/ I learned mother nature/ I’m sorry/ I’m powerless,” she sings on highlight ‘Passed Me By’, switching between Korean and English as she traces back the confusion of identifying with forces beyond her control – and most people’s perception. The track is dreamy and vaporous at first, but as she finds ways to ground the sensation (“I like flipping the pages and feeling the physical weight of how much time has passed me by”), it becomes kinetic and booming, her wispy vocals barely catching up.

Even when there’s clarity on the other end, the most visible, present version of Yaeji doesn’t completely overshadow her past selves, or those deeper down. But reshaping them can be illuminating. In the blissfully sparse environment of ‘I’ll Remember for Me, I’ll Remember for You’, where remembering is framed as an act of personal freedom, a sort of creeping thought arises, encased in parentheses: “(I wrote it down for you.)” Then it’s liberated, and the song is split generously in two, self no longer masking the other. You can feel the weight of frustration permeating the title track – “There were days I gave up/ And put a mask on my face, brain, and heart” – but the more she repeats it, the more she’s told to take a break from dreaming, the lighter, weirder, and gentler her dance grows. It sounds like reanimating a broken cycle.

As the record progresses, it starts to resemble a study in contrasts. The sonic distance between the hard-hitting ‘Michin’ and the searching melancholy of the Loraine James-assisted ‘1 Thing 2 Smash’ makes breezing through the couple of tracks between them feel like time travel. The euphoric ‘Happy’, featuring Nourished by Time, is an invitation to surrender to both ourselves and those around us, relaxing into the joy of communal and self-directed love. It could easily be the closing track, but easy is not the path Yaeji takes. She leaves us with ‘Be Alone in This’, a song about, well, not wanting to be alone in this. But just as it spirals inward, it seems to change course. “That’s how you lose track of,” she keeps singing, manipulating her vocals to mirror the feeling. Maybe it’s ambivalent – is it loneliness distorting time or finding the courage to step into yourself? Creativity spilling out, falling in love? With each repetition, the boundaries grow porous, as if to stop us questioning. Maybe, then, it can happen to you.

Esther Rose Shares Video for New Song ‘Spider’

Konstantinos Pappis
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Esther Rose Shares Video for New Song ‘Spider’

Esther Rose has released a new song her upcoming LP Safe to Run. Following previous offering ‘Chet Baker’ and the title track, ‘Spider’ arrives with an accompanying video directed by Anthony Simpkins. Check it out below.

Speaking about the song, Rose said: “As I was writing this, I remember thinking ‘This. Is. My. Final. Word!!!’ My drummer Lonnie calls this one an ‘emotional dump truck.’ We tracked vocals live and tried to redo them later, but they didn’t hit as hard as the original take. There’s something kind of deranged happening in the third verse, the situational complexities, you can feel it. It’s our favourite to play live.”

Anthony Simpkins added, “When Esther approached me to make this video, she had an idea to involve a boxing match. I thought, why not film it at a real MMA event? I love the stark contrast in the on-screen action and Esther’s song. It is somehow both the polar opposite and perfectly matching the journey each person is going through from the beginning of the night to the end of the fight. Love, anxiety, pain, triumph, anger, defeat… you feel everything at a fight. Esther captures the same emotions in her songs.”

Safe to Run is due out April 21 via New West Records.

Watch the Hold Steady Perform ‘Sideways Skull’ on ‘Seth Meyers’

Konstantinos Pappis
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Watch the Hold Steady Perform ‘Sideways Skull’ on ‘Seth Meyers’

The Hold Steady rolled through Late Night With Seth Meyers last night (April 5), performing their single ‘Sideways Skull’. Watch it happen below.

‘Sideways Skull’ is taken from the band’s ninth studio album, The Price of Progress, which was released last week. Back in October, the Hold Steady frontman Craig Finn appeared on Seth Meyers to perform his solo track ‘The Amarillo Kid’.

Andy Bell Announces New Album ‘Tidal Love Numbers’

Konstantinos Pappis
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Andy Bell Announces New Album ‘Tidal Love Numbers’

Andy Bell has announced a new album called Tidal Love Numbers, a collaborative effort with the Essex-based duo Masal. It’s out May 19 via Sonic Cathedral, and today, Bell has shared an edit of the track ‘Tidal Love Conversation In That Familiar Golden Orchard’. Check out Jean de Oliveira‘s video for it below.

“It’s the closest we have come to a conventional arrangement,” Bell said of the single in a statement. “It has a recognisable riff and a beat, but still floats free of it most of the time.”

Andy Bell’s last album, Flicker, came out last year.

Tidal Love Numbers Cover Artwork:

Tidal Love Numbers Tracklist:

1. Murmuration Of Warm Dappled Light On Her Back After Swimming
2. The Slight Unease Of Seeing A Crescent Moon In Blue Midday Sky
3. Tidal Love Conversation In That Familiar Golden Orchard
4. A Pyramid Hidden By Centuries Of Neon Green Undergrowth

Peter Gabriel Releases New Single ‘i/o’

Konstantinos Pappis
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Peter Gabriel Releases New Single ‘i/o’

Peter Gabriel has unveiled ‘i/o’, the title track from his forthcoming album. The single features the Soweto Gospel Choir and follows previous cuts ‘Panopticom’, ‘The Court’, and ‘Playing for Time’. Listen to the Bright-Side Mix of the song below.

“This month the song is ‘i/o’ and ‘i/o’ means input / output,” Gabriel explained in a press release. “You see it on the back of a lot of electrical equipment and it just triggered some ideas about the stuff we put in and pull out of ourselves, in physical and non-physical ways. That was the starting point of this idea and then trying to talk about the interconnectedness of everything. The older I get, I probably don’t get any smarter, but I have learned a few things and it makes a lot of sense to me that we are not these independent islands that we like to think we are, that we are part of a whole. If we can see ourselves as better connected, still messed up individuals, but as part of a whole, then maybe there’s something to learn?”

A release date for i/o has not yet been announced.

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