Madeline Kenney has announced her fourth album, A New Reality Mind, which will be out on July 28 via Carpark Records. Kenney recorded and produced the follow-up to 2020’s Sucker’s Lunch and the 2021 EP Summer Quarter alone in her basement. Check out a self-directed video for its first single, ‘Superficial Conversation’, below.
“‘Superficial Conversation’ is my way of looking back at the ways I shrunk myself or ignored my own needs in favor of the needs and desires of others,” Kenney explained in a press release. “While I wish I had acted differently, I want to be kind and forgiving to my past self and be able to grow and move forward with more power and love. I wanted the video to show a forced transformation, from the inside and out. Jess Bozzo’s choreography really captured what I wanted to evoke; a painful change that becomes a pretty joyous opening with room for desire and play.”
A New Reality Mind Cover Artwork:
A New Reality Mind Tracklist:
1. Intro
2. Plain Boring Disaster
3. Superficial Conversation
4. Reality Mind
5. I Drew A Line
6. It Carries On
7. Red Emotion
8. The Same Again
9. HFAM
10. Leaves Me Dry
11. Expectations
Mandy, Indiana have shared ‘Drag [Crashed]’, the final advance single ahead of the release of their debut LP, i’ve seen a way, next Friday, May 19 via Fire Talk. Following previous entries ‘Pinking Shears’, ‘Injury Detail’, and ‘Peach Fuzz’, the track arrives with a video directed by Ella Margolin (Porridge Radio, Jessica Winter) and featuring movement direction by Jacquelyn Tepper. Watch and listen below.
“‘Drag [Crashed]’ is a collection of things that were said to me or about me because I’m a woman,” the band’s Valentine Caulfield explained in a statement. “From middle-aged men saying I would ‘pop some fly buttons’ to my dad and that he would need a gun to fend off the boys when I was a literal toddler, to educators telling me my shoulders would ‘distract the boys’ and I therefore needed to cover myself, and romantic partners trying to control my body, ‘Drag’ is a personal exploration of what it means growing up a girl.”
“I spent a long time thinking about misogyny as a feeling; the power dynamics that lie at its core and the ways they manifest in our lives,” Margolin added of the video. “I was thinking about the rituals that we take part in collectively; how natural these power dynamics can feel and how blindly we play them out in our day-to-day. I really wanted to explore the violence implicit in these moments and the feeling of inevitability that underscores them. This inspired the idea of creating some form of ritualistic snog. I wanted to portray a degree of the complicity we all have in these rituals – the weight of their inevitability. I didn’t want it all to be about struggle. I wanted to represent a range of responses – apathy, fear, pride, shame, validation etc. – they all feel so present in our lives and in our engagement with these power dynamics.”
Queens of the Stone Age have announced their next album: In Times New Roman… arrives June 16 via Matador. The band’s first LP since 2017’s Villains is led by the new single ‘Emotion Sickness’. A video for the track, created by Liam Lynch, will premiere tomorrow. Take a listen below and scroll down for the album’s cover art and tracklist.
In Times New Roman… was largely recorded and mixed at Josh Homme’s own Pink Duck studio, produced by the band, and mixed by Mark Rankin. The album artwork was designed by frequent collaborator Boneface.
In Times New Roman… Cover Artwork:
In Times New Roman… Tracklist:
1. Obscenery
2. Paper Machete
3. Negative Space
4. Time & Place
5. Made to Parade
6. Carnavoyeur
7. What the Peephole Say
8. Sicily
9. Emotion Sickness
10. Straight Jacket Fitting
The Pretenders have announced a new album called Relentless. The follow-up to 2020’s Hate for Sale will be released on September 1, and its first single, ‘Let The Sun Come In’, is out now. Listen to it below.
“I enjoy seeing the various meanings and origins of a word,” Chrissie Hynde said of the album’s title in a press release. “And I liked the definition: ‘showing no abatement of intensity.’ So when it came to an album title, it seemed fitting. You know…to keep doing it. I think anyone in a band is constantly questioning if they should keep going. It starts as a youthful pursuit and eventually, it makes you wonder, why am I doing this? It’s the life of the artist. You never retire. You become relentless.”
Produced by David Wrench at the Battery Studios in Willesden, North West London, Relentless features a collaboration with Radiohead/The Smile’s Jonny Greenwood, who provided the string arrangement and conducted the 12 Ensemble for the album’s closer, ‘I Think About You Daily’.
“I met Jonny a couple of times and we’re obviously big fans of him because he’s done some incredible music over the years,” Hynde shared. “I saw him at the Phantom Thread premiere where the film was running on screen with a live orchestra playing. And we spoke afterward and he expressed an interest in doing something one day. I was thrilled and very surprised. So when we had the idea of getting strings on ‘I Think About You Daily,’ he was first choice. Legend!”
Relentless Cover Artwork:
Relentless Tracklist:
1. Losing My Sense Of Taste
2. A Love
3. Domestic Silence
4. The Copa
5. Promise Of Love
6. Merry Widow
7. Let The Sun Come In
8. Look Away
9. Your House Is On Fire
10. Just Let It Go
11. Vainglorious
12. I Think About You Daily
Killer Mike has shared a video for the new song ‘Motherless’. Along with a new video for the previously shared single ‘Don’t Let the Devil’, they form a two-part short film that pays tribute to the rapper’s late mother. The ‘Don’t Let the Devil’ visual is directed by Davi Peña, while ‘Motherless’ is directed by Shane Smith. Check out both of them below.
“These aren’t meant to be sad videos or eulogies,” Mike explained in a statement. “This is a celebration of a bad ass Black girl from the westside of Atlanta. She’s been affectionately called OG Mama Niecy by the many people she helped stay on their path.”
‘Motherless’ and ‘Don’t Let the Devil’ are set to appear on Mike’s first solo LP in over a decade, Michael, which is due out June 16 via Loma Vista.
Shoes that are gender-neutral have become increasingly popular in the fashion industry in recent years. And for a good reason, gender-neutral footwear is the ultimate solution for practicality and fashion.
We no longer need to choose between style and comfort or feminine and masculine designs. These unisex shoes offer a versatile and inclusive option that anyone can wear regardless of gender identity or style preference.
Practicality
Shoes for men and women are practical because anyone can wear them. They are designed to fit both men and women, so there is no need to worry about finding the right size or style for your gender. This is particularly useful for people with larger or smaller feet than the average size for their gender. Unisex shoes offer a more comprehensive range of sizes and styles, making finding a pair that fits well more accessible.
Additionally, shoes for both genders are often designed for comfort and functionality. They are made from durable materials that can withstand wear and tear, and they are often designed with features such as non-slip soles and supportive insoles. This makes them ideal for everyday wear, whether running errands, going to work, or walking.
Fashion
Shoes for males and females are also fashionable. They offer a modern, minimalist look that is perfect for various styles, from casual to formal. Their simple design means that they can be paired with a wide range of outfits and can be dressed up or down depending on the occasion.
Furthermore, unisex shoes are often designed with neutral colors and simple patterns. This makes them perfect for people who prefer a more understated style or want to avoid gender-specific designs. It also means that unisex shoes can be easily shared between partners or family members, making them a practical and cost-effective choice.
Inclusivity
The most critical aspect of unisex shoes is their inclusivity. Unisex shoes promote a more inclusive and accepting society by offering a gender-neutral option. They recognize that people come in all shapes, sizes, and styles and that everyone deserves access to comfortable and stylish footwear.
Unisex shoes also challenge traditional gender norms and expectations, which can help to break down barriers and promote diversity. By wearing unisex shoes, we can show that we are open to different perspectives and value inclusivity and equality; these Gay Pride Shoes are the perfect example of neutral, inclusive footwear anyone can wear whether they’re heading to a pride event or not.
Conclusion
Unisex shoes are the ultimate solution for practicality and fashion. They offer a versatile and inclusive option that anyone can wear regardless of gender identity or style preference. Combining comfort, functionality, and fashion, unisex shoes provide a practical and stylish footwear option perfect for everyday wear. They also promote inclusivity and challenge traditional gender norms, making them essential to a more diverse and accepting society.
Being a nail technician can be an incredibly rewarding job and requires a great amount of skill. However, no matter how many years of experience you have, it can be difficult to know how to manage clients who come in with very short, bitten-down nails.
Here are some tips on how to help with this situation and encourage better nail health and maintenance.
Talk to your client
Before tackling their nails, you should first start by explaining to your client why nail biting can be damaging to their health and how they could improve it by taking some small steps. Many people bite their nails due to anxiety or as a coping mechanism, so it is vital that you approach this subject sensitively.
Propose a nail routine
Weak nails are more tempting to bite so if your client has significant damage, then it can be good to advise them on how to improve their nail health to cut down on biting.
Having a nail routine is super important for nail biters. A basic manicure will help anyone on the path to good nail and hand health, but especially for those who are more likely to gnaw at rough or ungroomed nails. You could propose a card where they get their 10th treatment for free as a way to encourage them to stick to regular appointments.
Make sure to also educate your client on how to look after their nails in between appointments too, from keeping their hands well moisturised to regularly oiling their cuticles. This will help them to build up strength and will make your life easier in the long term.
Acrylic nails
Acrylic nails are great for serial nail biters who have tried every treatment under the sun and are at their wits’ end. Acrylic sets into hard form, so when applied it will be very difficult to bite off which can help people to break the habit. Make sure to have some acrylic nail sets in your kit so you can give people this option should they want it.
Nail art
Nail art can also help fend off biting. Many people believe that they can’t get art done on short nails so make sure to photograph any designs you do on shorter nails and share these on social media to encourage those who bite to consider coming to you for their manicures. Balance this out with showcasing designs that can only be done on longer nails, to encourage people to keep growing.
Use elongated designs that flatter the length to reduce the temptation of doing anything that could reverse their hard work and take progress pictures of your client’s nails so that you can track their growth together and encourage them to stick to their new healthy routine.
The decision to roll out the Smashing Pumpkins’ new album over several months was a wise one. The first act of ATUM: A Rock Opera in Three Acts was released all the way back in November 2022, while Act Two followed in January and Act Three arrived just last week. For most fans, all that new music would be more than enough. For the truly engaged, though, Billy Corgan also hosted a weekly podcast called Thirty-Three in which he premiered and dissected each song. That’s right: ATUM spans 33 tracks totalling two hours and twenty minutes. It’s billed as a sequel to 1995’s Mellon Collie and the Infinite Sadness and 2000’s Machina/The Machines of God, but it’s also a trilogy in its own right. You have to hand it to the true defenders of the uncool for tackling a 33-track space opera in the year 2023, but you’d have to be crazy to take it in all at once, which is why that release strategy made sense. And yet, “crazy” being a better descriptor of my disposition than “devoted Smashing Pumpkins fan,” that’s exactly what I did.
Unless you want to spend an extra hour in Corgan’s company for each 3-5 minute song that you hear (there are some longer ones, but we’ll get to them), the narrative arc of ATUM will probably slip by you. It continues the story of Shiny, the main character who first appeared on Mellon Collie, and it begins with him being exiled in space. It’s not exactly a metaphor for Corgan and the band’s trajectory but it’s also not not about him. It’s self-aware but not in a way that forces you to participate in whatever narrativizing is taking place, which, again, is smart optics. Even for those willing to sit through the entire album, it’s sort of designed in a way that allows you to dismiss that whole aspect of it. “It’s actually hard-baked in there that I would assume that most people won’t follow the story,” Corgan said in an interview with Rolling Stone. (He also noted that his bandmates initially responded to the concept with “a big shrug.”)
If there’s a central conceit to ATUM, it’s not the driving force behind it. So what is? It’s hard to tell, which is one of the album’s biggest weaknesses; it often sounds like Corgan is throwing a million ideas at the wall and seeing what sticks, or which songs stick better together. The ambition is always there, but not always the inspiration or follow-through. Though it’s far more guitar-driven and conceptually focused than its predecessor, 2020’s CYR, it suffers from the same problem of being merely serviceable even when it takes some risks. It’s just that ATUM tries a lot more things and pulls from a wider range of influences, so now we get an album that varies more in quality and style.
One could probably make the case that there is a positive progression throughout the three acts, but each section nevertheless feels like a mixed bag. Act One sets the tone by easing us into the theatrical scope of the album with a collection of songs that are different but not exactly dynamic, straightforward but not particularly catchy or impactful. Vaguely alluding to ‘Bullet With Butterfly Wings’, ‘Butterfly Suite’ disappoints by having too much sparkle and little resonance, while ‘When the Rain Must Fall’ is a romantic ballad with all the yearning stifled. You get the sense that the band is willing to let more light into their sound but falls short of materializing it: ‘Hooray!’ is goofy in a way that might translate if you’re actually watching the band perform it, while the radio-friendly ‘Beyond the Vale’ – an early sign that the heaviest tracks on ATUM rely on chugging more than actual riffs – ends up sounding rather anonymous. By contrast, songs like ‘The Gold Mask’, which concludes Act One, and ‘Avalanche’, which kicks off the next one, glisten with real conviction, from Corgan’s sincere delivery to a stunning solo from James Iha on the latter.
One of the synthier cuts on ATUM, ‘With Ado I Do’, is actually richer and more affecting than a lot of the songs on CYR. But even when they return to a more familiar rock sound, the album is too often marked by the same robotic production that hindered that album. While ‘Neophyte’ achieves the expected grandeur, its repetitiveness becomes cloying; ‘Beguiled’ is a fine single, but it strangely lacks the hint of weirdness that would set it apart (‘Empires’ does the no-frills rock thing much better). Fortunately, Act Three serves as LP’s most spirited and adventurous stretch, with both of the 8-plus-minute tracks offering enough to keep you engaged even if you have no investment in the album’s lore. The band even pulls off a decent experiment in power-pop with ‘Spellbinding’, which proves they can take the lighthearted synthpop route without sounding too dull. Overall, the strange thrill you can get from listening to the Smashing Pumpkins isn’t entirely absent on ATUM, but sometimes it felt like I could get the same feeling just by seeing Billy Corgan react to Yeat and save myself a couple of hours. Dig through the muck, though, and you’ll find the parts that shine.
Arlo Parks has teamed up with Phoebe Bridgers for ‘Pegasus’, the latest preview of her sophomore album My Soft Machine. Following previous cuts ‘Weightless’, ‘Impurities’, and ‘Blades’, the track arrives with an accompanying video directed by Bedroom at Compulsory Film. Check it out below.
“‘Pegasus’ is about experiencing the warmth and lightness of good love for the first time,” Parks explained in a press release. “It also explores how the absence of chaos and the presence of real connection can be a little bit terrifying after a long time of not having it.”
“The desert landscape has always had a special place in my heart, the scorched land, the dust, the sense of absence,” Parks added of the video. “Films like Gerry, My Own Private Idaho, and Paris, Texas all use the desert as its own character representing isolation, nostalgia and the journey to a place outside of yourself. Bedroom did an incredible job of meshing surreal dreamscapes with real intimacy to make one of my favourite music videos I’ve ever made.”
Beach Fossils have released ‘Seconds’, the latest offering from their new album Bunny, which is due out June 2 via Bayonet. It follows previous cuts ‘Don’t Fade Away’, ‘Dare Me’, and ‘Run to the Moon’. “‘Seconds’ is a song about realizing you love somebody more than they love you,” frontman Dustin Payseur said of the track. Check a video for it below.
![Mandy, Indiana Unveil Video for New Single ‘Drag [Crashed]’](https://ourculturemag.com/wp-content/uploads/2023/05/mandy-indiana--e1683811081226-768x402.jpeg "Mandy, Indiana Unveil Video for New Single ‘Drag [Crashed]’")
