Thomas Bangalter, formerly one half of Daft Punk, has released a new track called ‘Le Minoutaure’. It’s taken from his upcoming album Mythologies, an orchestral work he composed for the ballet of the same name. Listen to ‘Le Minoutaure’ below.
Mythologies is slated for release on April 7 via Erato/Warner Classics. Bangalter previewed the record with ‘L’Accouchement’ last month.
mui zyu is the solo project of Eva Liu, who was born in Northern Ireland to Hong Kong parents and is now based in London. She is also a member of the art-rock trio Dama Scout alongside Danny Grant and Luciano Rossi, the latter of whom serves as a co-producer on mui zyu’s first full-length, Rotten Bun for an Eggless Century, which is out today. When we talked to the band last year around the release of their debut LP, get wo lai (come with me), Liu explained that, although she grew up listening to a lot of Cantonese pop from the ’70s and ’90s, she didn’t fully embrace her heritage until she started making her own music, which made a conscious effort to combine her diverse influences.
The new album feels like a natural evolution from 2021’s a wonderful thing vomits, drawing from her love of video game soundtracks and fusing traditional Chinese instruments with warped, dreamy electronics while delving deeper into Chinese folklore and her relationship with family and identity. Some songs reach towards swirling transcendence, others scan more like an intentional glitch; they’re split between a world of sorcerers and witches and what she calls a “kitchen sink reality” of collaged memories, including voicemails from both her dad and mum. Its fantastical journey isn’t a means of escape so much as immersion, and as eerie and disorienting as it can feel, Liu imbues the atmosphere with gentle, comforting melodies and words that never fail to envelop.
We caught up with mui zyu for this edition of our Artist Spotlight interview series to talk about the concept behind Rotten Bun for an Eggless Century, the development of the project, merging the fantastical and the mundane, and more.
When you started putting together Rotten Bun for an Eggless Century, did any of the ideas run alongside what you were working on with Dama Scout, or did you intentionally keep the two projects separate?
With get wo lai (come with me), like I had mentioned to you before, I was exploring a lot about my Chinese heritage, and I felt like I had processed a lot of things and was in a good place with it. But then there was a lot of other things happening in the past few years, particularly hate crimes towards East and Southeast Asian people, and that led me to delve even deeper into a lot of things to do with my Chinese heritage. It also brought a lot of people from these backgrounds together to share their stories and provide support and go about creating positive change, and that unleashed a whole other side to my songwriting. It just naturally continued to pour out. With the EP, that’s kind of what I had touched on, but I see the album as a sort of closure of all of that. The listener is taken on this journey, and at the end of the album there’s a cathartic release.
I get the sense that the Dama Scout album, despite being a group project, came more from a place of introspection and looking into your past, whereas this record emerged from a need for community and connection.
Yeah, the Dama Scout album is probably more coming from the perspective of someone who felt quite alone or isolated. As a continuation of that, having been a part of these amazing communities, and also exploring further into my Hong Kong heritage – my parents moved to Hong Kong in 2019, and I was feeling quite far away from them, so I was making even more of an effort to connect with them. It was probably more of a positive approach.
Can you share more about your involvement in these communities?
During the pandemic, when there was a lot of hate crime towards East and Southeast Asian people, these communities naturally formed – not with any sort of specific goal in mind, it was just more coming together and being there for each other. The more people joined, the more we all shared as a whole. All of our different experiences, particularly people who had grown up in a Western society and having to juggle different cultures, like myself. Growing up in a Chinese household, at times I’ve had to live above a Chinese restaurant, or I’ve had to deal with a lot of things at school that I didn’t quite understand until a lot later; being part of these communities, having shared these stories and realizing that you’re not the only one, and that times when you often blamed yourself for certain things happening is not your fault, and that certain things like microaggressions that you thought weren’t real are real. Learning new ways to deal with past experiences.
In particular with ESEA Sisters, we came together in environments where it was a very safe space and we had, like, healing circles and sessions where we were able to talk about experiences of racism or certain traumas. It’s been very empowering hearing other people’s stories and having each other’s support. We even started a Mahjong group. Growing up, I felt very much resentful of my background, and now I’m fully embracing it. I play Mahjong like every week, with a community who are also learning and are also in the same place in their journeys as well.
At the beginning of the process, did you already have a firm idea of what the album was going to evolve into, in terms of the story or the sound that you wanted to bring forward?
The themes I think I hadn’t planned, but I guess I kind of knew it was shaping that way, in terms of exploring identity and processing everything that was happening. I didn’t think it would be wholly about that, it just sort of naturally came together that way. But I did have this idea quite early on of the listener being taken through a journey through this central character, this role-playing video game sort of concept. And also touching on elements of fantasy and folklore – that was definitely something I had in mind as well quite early on. I was reading a lot of Chinese folklore at the time, particularly Pu Songling’s short stories. It’s very fantastical and surreal in terms of the imagery he writes about. I wouldn’t say it’s horror, but it’s very eerie. I wanted something like that, that was a bit unnerving. I was also around this time immersing myself in a lot of video games – I particularly love open-world video games – and I was combining all these things that I was absorbing and wanted to build my music around that concept. And it fit quite well because what I was writing about is my journey, my own identity, although the character that is part of the album is not me. I want it to be whatever the listener can relate to it to; it can be anything, but at times it probably is just me.
Was it challenging to tread that balance when you were writing around the protagonist?
By having a character to build around, it sort of made it easier to write. I feel like if I was writing completely from my perspective, it would have been a lot more of a draining process. Having a figure to write through and as if it’s their experience, it made it more interesting, like you can manipulate it in different ways. But also, it made me live through this character as opposed to just completely tearing myself apart. [laughs]
How about the metaphor of the rotten bun? Was it a case where you had the song and it turned into the album title, or did you have the idea and built the album around that?
The song came first, and I just loved the imagery of the rotten bun being the rotten heart of this warrior. But also, I gravitated a lot toward imagery that related to food because food was a big part of my life and a huge part of my culture. It’s something I’ve been connecting with more with my dad now that he lives so far away. He was a restaurant owner and it’s his passion, like he really gets animated when he talks about food. Using imagery around food is definitely a big part of how I write. Rotten Bun for an Eggless Century came together from seeing all the track names together – for some reason those words stuck out to me, and it sounded like it could be a video game name or the name of a folk story.
It’s a great title, and also pretty absurd.
Yeah, that’s something that I love to marry in my music – things that are a bit strange, but also maybe sound beautiful. I definitely strive for absurdity every so often.
You talked about leaning into fantasy, but in the same way that you manipulate traditional and modern instrumentation, you also blend the fantastical with the everyday. One of my favorite lines is from ‘Demon 01’, where you sing, “I call all my friends/ This afternoon/ Holding all our hands/ With super glue.” As you were exploring otherworldly, eerie sounds and stories, what kept you grounded in these human moments?
I guess I wanted to bring it back down to Earth, in a sense, and make the listener realize it’s reflective of society to some extent. It also goes back to me liking to merge things that don’t necessarily fit together, and I think that’s something I always naturally gravitate towards. With ‘Rotten Bun’, the lyric “The sorcerers and witches who doubt themselves,” it’s mixing these fantastical characters, but they also have very normal problems – they also are burning out over, I don’t know, casting too many spells or something. [laughs] I liked playing around with that idea. Like I mentioned, I wanted it to reflect real experiences as well; that’s why I included things like field recordings mushed into this expansive world.
Why did you decide to include those field recordings?
As I was writing, I was reflecting on a lot of past experiences and different sounds from growing up. One that I often talk about is growing up above my dad’s restaurant when I was a kid, when I did my homework or when I was trying to get to sleep, hearing people dining downstairs or the kitchen noise or the smashing of the woks was really comforting to me. I’m one of those people who can’t sleep without sound, so I’ll sometimes have music or some sort of noise in the room as I good to sleep. I don’t know if that’s because since I was a kid I’ve always had noise around me. When we eventually moved out of the restaurant, I would sometimes fall asleep to my dad coming back from work and he’d be cooking up some noodles, or my family would get together and play Mahjong. And the sound of the tiles – people are like, “How did you fall asleep to that?” But I found it really soothing. The more I was thinking about that and about these sounds, I did think it’d be cool to capture that in some way in the songs, even though most of them you can’t really hear, it’s processed or quite manipulated. Also, I had my dad read a recipe –
That’s definitely not very hidden.
Yeah, that one’s pretty obvious. Like I mentioned before, I bonded with my dad a lot over making food, and he would often send me voice notes – actually, both my parents send me voice notes because I think they find typing too slow. [laughs] Sometimes I’ll text my dad and it’ll say “Typing…” for like 10 minutes and it’ll just be a really short sentence. But when it’s a whole recipe or instructions on how to make something, he’ll just dictate it on a phone. I really cherish those audio notes, and I felt like it needed to be on the album. It’s a specific recipe that I asked him to explain – he didn’t actually send that to me before. Because usually he’d just be walking around the house or on the street, but this one, he sat down and put on this formal voice. I don’t know where the recipe come from, but it’s apparently a Hong Kong way of making a fried egg. It’s called Ho Bao Daan, which technically means purse, like a little purse egg. But I also liked that imagery of the little pocket being like an inventory bag in a game.
When it came to collaborating with your bandmate Lucci for the album’s production, how was the dynamic different from working together in Dama Scout?
When I start mui zyu, I didn’t really have any kind of intention to build anything from it. I was writing a lot around 2020, 2021, just putting all these loose ideas together. And Lucci helped me materialize a lot of my ideas and putting it into Logic. I think with this project, the ideas are already quite visualized, and I knew exactly what I was going for. With Dama Scout, we were all in the room together, writing together, and experimenting with different sounds. To be honest, my experience of being in Dama Scout has empowered me and also helped me be a better musician and songwriter. My approach to songwriting and making sounds has definitely improved a lot through being in a band with Danny and Lucci. I feel very lucky to be working with Lucci again. He’s such a good producer, and I feel like him and I gel really well together. I feel like he knows exactly what I’m trying to achieve. I think we mentioned last time when we were talking about the ‘emails from suzanne’ video, Danny was working a lot with 3D, so it’s been amazing having him involved with visuals as well.
You mentioned closure earlier, and the last part of the record includes two different kinds of goodbyes: to lost loved ones on ‘Paw Paw’, and to a more internal darkness on ‘Eggless Century’. Does releasing the album add to the catharsis that came with writing these songs?
Yeah, I think that definitely adds to the closure and the purging of everything that I went through in that time. It definitely feels like, as cheesy as it sounds, I’m ready to move on to the next chapter. I’m already putting together new music that I feel is already a new – not necessarily sound, but approach to my writing.
This interview has been edited and condensed for clarity and length.
mui zyu’s Rotten Bun for an Eggless Century is out now via Father/Daughter Records.
Conway the Machine has announced his next LP, Won’t He Do It, which comes out March 31 via Drumwork Music Group/Empire. Juicy J produced its first single, ‘Super Bowl’, and also features on the track alongside the Houston rapper Sauce Walka.
Conway had this to say about the track:
‘Super Bowl’ is just one of them ONES! Big rings, big ice on, big money, celebrating BIG WINS. In life, you gotta be proud of yourself for all of your hard work paying off. A win is a blessing, and you always gotta count your blessings” Conway proclaims. “Shout out to my brother Juicy J, he sent me this hard ass beat, and I did a verse to it immediately. Then I’m like nah, what would REALLY be crazy is my bro Sauce Walka on it too! Sent it to bro, he smoked it, then I sent it to Juice Mane and he smoked it, and here you have it!
Last year, Conway the Machine released the album God Don’t Make Mistakes.
Depeche Mode appeared on last night’s episode of The Late Show with Stephen Colbert, where they performed ‘Ghosts Again’ from their upcoming album Memento Mori as well as the classic ‘Personal Jesus’. Watch it happen below.
Memento Mori, Depeche Mode’s first album since founding member Andy “Fletch” Fletcher died last year, is due out March 24. Following its release, the band will embark on an extensive world tour that includes dates across North America and Europe.
Pusha T has shared a new remix of Melle Mel’s 1983 classic ‘White Lines (Don’t Do It)’. It appears on the soundtrack of the new movie Cocaine Bear, which follows a coked-up grizzly bear wreaking havoc in the woods. Give ‘White Lines (Cocaine Bear Remix)’ a listen below.
Pusha T dropped his latest album, It’s Almost Dry, last year. It became the rapper’s first-ever No. 1 album on the Billboard 200 chart upon its release.
Entertainment is an important part of our lives, and it plays a significant role in how we spend our money. The term ‘entertainment’ can cover a wide range of activities, from visiting cinemas, theaters, and concerts, to more high-risk ventures like gambling or extreme sports. However, entertainment spending can quickly add up, and understanding how much the average UK citizen spends on entertainment, particularly high-risk ventures, is important for personal financial management and also for the economy.
Understanding the amount of money that the average UK citizen spends on entertainment is crucial for the UK’s economic planning and development. The entertainment industry is a significant contributor to the UK’s GDP, and spending on high-risk ventures is often a key driver of this growth. Furthermore, entertainment spending can also have a significant impact on individual finances, with overspending on entertainment potentially leading to financial difficulties. Therefore, understanding the patterns of entertainment spending in the UK is essential for both individuals and policymakers.
This article will explore how much the average UK citizen spends on entertainment, with a particular focus on high-risk ventures. The article will provide an overview of entertainment spending in the UK, including statistics and trends, and will compare UK entertainment spending to other countries. The article will then define high-risk ventures and discuss the types of high-risk ventures that are popular in the UK. It will also provide statistics on UK citizen spending on high-risk ventures, and explore the factors that influence these spending patterns. Finally, the article will discuss safety and risk management in high-risk ventures, as well as regulations governing high-risk ventures in the UK.
According to a report by the Office for National Statistics (ONS), UK households spent an average of £89 per week on recreation and culture in 2019. This category includes spending on various forms of entertainment such as cinemas, theaters, concerts, museums, and sports events. The report also showed that the average weekly expenditure on gambling was £6.50 per household.
Compared to other countries, the UK ranks highly in terms of entertainment spending. According to a report by Statista, the UK ranks third globally in terms of spending on culture and entertainment, after the US and China. The report also highlights that the UK has one of the highest rates of attendance at live events, such as theater, music, and sports events.
Over the years, entertainment spending patterns in the UK have shifted. The rise of digital technology has had a significant impact on entertainment spending, with more people now consuming music, films, and TV shows through streaming services such as Netflix and Spotify. Additionally, the COVID-19 pandemic has accelerated this shift, with more people staying at home and consuming digital entertainment. However, this has also led to a decline in spending on traditional entertainment activities like cinema and theatre. In contrast, spending on outdoor activities like camping, hiking, and cycling has increased as people look for socially-distanced ways to enjoy their leisure time.
High-risk ventures are leisure activities that involve a higher-than-average degree of physical danger, financial risk, or both. These types of activities are often adrenaline-fueled and involve the possibility of injury, financial loss, or both. High-risk ventures can be appealing to individuals who seek an exciting experience, but they come with a higher level of risk than other leisure activities.
Some examples of high-risk ventures include extreme sports like bungee jumping, skydiving, and rock climbing. High-stakes gambling, such as playing online slots, poker, and other casino games, can also be considered high-risk ventures. Other examples include adventure tourism, such as white water rafting or safari tours, and motor racing. These types of activities are often expensive, but the thrill of the experience can be alluring.
The risks associated with high-risk ventures can vary depending on the activity. For example, extreme sports carry a high risk of injury or death, while high-stakes gambling can result in significant financial loss. Adventure tourism and motor racing can also be dangerous due to the potential for accidents. Individuals who participate in high-risk ventures should be aware of the risks involved and take appropriate safety precautions. In the case of online slots, it is important to be cautious and only gamble with money that you can afford to lose. More information found here on online slots and other gambling websites can be useful.
The statistics on UK citizen spending on high-risk ventures vary depending on the activity. According to the ONS, in 2019, the average weekly expenditure on gambling in the UK was £6.50 per household. The UK Gambling Commission has also reported that the online gambling industry in the UK was worth £5.3 billion in 2020. In terms of extreme sports, a report by Mintel shows that the UK adventure sports market was valued at £469 million in 2019.
Compared to other types of entertainment, spending on high-risk ventures is typically lower. The ONS report mentioned earlier showed that UK households spent an average of £89 per week on recreation and culture, which includes a range of entertainment activities. In contrast, the average weekly expenditure on gambling was £6.50 per household. This suggests that high-risk ventures, such as extreme sports and gambling, are not the most significant drivers of entertainment spending in the UK.
Several factors can influence UK citizen spending on high-risk ventures, such as personal preferences, disposable income, and advertising. Individuals who are interested in high-risk ventures may be more likely to spend money on activities such as gambling and extreme sports. However, disposable income is also a significant factor, as high-risk ventures are often more expensive than other forms of entertainment. Advertising can also play a role in influencing spending patterns, as companies that offer high-risk ventures may use advertising to appeal to individuals who seek an adrenaline-fueled experience. Additionally, changes in the economy, such as recessions or economic growth, can impact disposable income and, therefore, influence entertainment spending patterns, including spending on high-risk ventures.
This article has explored entertainment spending patterns in the UK, with a particular focus on high-risk ventures. We started by providing statistics on entertainment spending in the UK, comparing it to other countries and highlighting trends in UK entertainment spending. We then defined high-risk ventures and provided examples of these activities. We also discussed the risks associated with high-risk ventures and looked at statistics on UK citizen spending on these activities. Finally, we explored the factors that influence UK citizen spending on high-risk ventures.
The findings of this article have several implications for individuals and policymakers. Understanding entertainment spending patterns is important for personal financial management, and knowing how much the average UK citizen spends on high-risk ventures can help individuals make informed decisions about their leisure activities. The findings also have implications for policymakers, as the entertainment industry is an important contributor to the UK’s GDP, and spending on high-risk ventures is a key driver of growth in this industry. Policymakers may use the findings to inform decisions about regulation and investment in the entertainment industry.
While this article has provided an overview of entertainment spending patterns in the UK, more research is needed to understand the complex factors that influence spending on high-risk ventures. Future research could explore the psychological and social factors that drive individuals to participate in high-risk activities, as well as the potential consequences of these activities, both positive and negative. Further research could also explore the impact of the COVID-19 pandemic on entertainment spending patterns, and the potential long-term effects of the pandemic on the entertainment industry as a whole.
boygenius have announced their first-ever UK headline shows. The trio of Phoebe Bridgers, Lucy Dacus and Julien Baker will perform at London’s Gunnersbury Park on August 20 and Halifax’s The Piece Hall on August 22. Ethel Cain and MUNA will open their outdoor London gig, with Cain also joining them for the latter show and more special guests for both dates to be announced soon. Tickets will go on sale from 10am GMT on Friday, March 3.
boygenius are gearing up to release their debut album, The Record, on March 31 via Polydor/Interscope Records. So far, they’ve previewed the follow-up to their 2018 self-titled EP with the singles ‘$20’, ‘Emily I’m Sorry’, and ‘True Blue’.
Kali Uchis has unveiled a new track in the lead-up to her upcoming album Red Moon in Venus. It’s called ‘Moonlight’, and it follows the previously shared single ‘I Wish You Roses’. Check it out below.
Red Moon In Venus is due for release on March 3 via Geffen Records.
Chvrches are back with the new single ‘Over’, their first new music since 2021’s Screen Violence. Arriving ahead of a South American stadium run in support of Coldplay, the track finds the group teaming up with producer Oscar Holter. Check it out below.
In a statement about the new song, Chvrches shared: “’Over’ is a song that we wrote with Oscar Holter, a producer we really respect and admire. Normally we collect songs over the course of months (or years!) until we have an album’s worth of material, but this time we just wanted to release something we were excited about and give the fans something new to mark the end of the Screen Violence era, and the start of whatever the next CHVRCHES chapter might be.”
In this segment, we showcase the most notable albums out each week. Here are the albums out on February 24, 2023:
Gorillaz are back with their eighth album, Cracker Island, out now via Parlophone. It features collaborations with Thundercat, Tame Impala and Bootie Brown (‘New Gold’), Stevie Nicks, Adeleye Omotayo, Bad Bunny, and Beck. The 10-track LP was recorded last year in Los Angeles alongside producers Greg Kurstin and Remi Kabaka Jr., with Murdoc, Noodle, Russel, and 2D having relocated to Silverlake, California “as they recruit new members to join ‘The Last Cult’, in search of the one truth to fix the world,” according to press materials. “Cracker Island is the sound of change and the chorus of the collective,” Noodle remarked. Read our review of the album.
U.S. Girls have released their latest album, Bless This Mess, via 4AD. It marks Meg Remy’s eighth album under the moniker, following 2020’s Heavy Light. Featuring the advance tracks ‘So Typically Now’, ‘Futures Bet’, and the title song, the LP was created in tandem with the conception and birth of Remy’s twin boys, and the closing track, ‘Pump’, samples her breast pump. Collaborators on the record include Alex Frankel of Holy Ghost!, Marker Starling, Ryland Blackinton of Cobra Starship, Basia Bulat, Roger Manning Jr. (Jellyfish and Beck), Alanna Stuart, and Remy’s husband, Maximilian Turnbull. Read our review of Bless This Mess.
Shame have returned with a new LP, Food for Worms, out today via Dead Oceans. The follow-up to 2021’s Drunk Tank Pink was produced by Flood, who has worked with the likes of U2, Nine Inch Nails, and PJ Harvey, and features the previously unveiled singles ‘Fingers of Steel’, ‘Six-Pack’, and ‘Adderall’. “I don’t think you can be in your own head forever,” frontman Charlie Steen said in a statement about Food for Worms. “It’s weird, isn’t it? Popular music is about love, heartbreak, or yourself. There isn’t much about your mates.” He also referred to the album as “the Lamborghini of Shame records.”
Algiers have issued a new album, Shook, today via Matador. Following their 2020 record There Is No Year, the 17-track album boasts guest spots from billy woods, Backxwash, Zack de la Rocha, Future Islands’ Samuel Herring, the Dungeon Family’s Big Rube, Hammered Hulls’ Mark Cisneros, Lee Bains III, and more. “I think this record is us finding home,” the group’s Ryan Mahan in press materials. Singer Franklin James Fisher added: “It was a whole new positive experience – having a renewed relationship with the city we’re from and having a pride in that. I like the idea that this record has taken you on a voyage but it begins and ends in Atlanta.”
mui zyu, the project of Dama Scout’s Eva Liu, has come through with her debut album, Rotten Bun for an Eggless Century, via Father/Daughter Records. Following the 2021 EP a wonderful thing vomits, the record was co-produced with Liu’s bandmate Luciano Rossi and includes the early singles ‘Rotten Bun’, ‘Ghost with a Peach Skin’, ‘Sore Bear’, ‘Dusty’, and ‘Talk to Death’. “The ‘rotten bun’ refers to the rotting heart of the lonesome warrior,” Liu explained in a press release. “We have to overcome these initial fiends who mock, bully, hurt by becoming strong enough whereby we are unaffected by their ‘rotten tongues’… A bit like a tutorial to a video-game where you are guided through the introduction and still have to destroy a final boss as part of your training.”
Radiohead’s Philip Selway has released his first solo album since 2014’s Weatherhouse. Out now via Bella Union, Strange Dance features guest contributions from Hannah Peel, Adrian Utley, Quinta, Marta Salogni, Valentina Magaletti, and Laura Moody, as well as the advance tracks ‘Check for Signs of Life’, ‘Picking Up Pieces’, and ‘Strange Dance’. “The scale of it was very deliberate for me, from the outset,” Selway said of the album. “I wanted the soundscape to be broad and tall but somehow get it to wrap around this intimate vocal at the heart of it.” He added, “One of the things I’ve liked about this record is it’s me as a 55-year-old not trying to hide that fact. It feels kind of unguarded rather than seeing that ageing process as something that needs to be hidden.”
Iris DeMent has issued her seventh album, Workin’ on a World. It marks the singer-songwriter’s first LP since 2015’s The Trackless Woods, and her first of original material since 2011. She pieced the record together with collaborators Richard Bennett, Jim Rooney, and Pieta Brown in Nashville over the past six years. “Every day some new trauma was being added to the old ones that kept repeating themselves, and like everybody else, I was just trying to bear up under it all,” she recalled in press materials. “My mom always had a way of finding the song that would prove equal to whatever situation we were facing. Throughout my life, songs have been lending me a hand. Writing songs, singing songs, putting them on records, has been a way for me to extend that hand to others.”
Follow the Cyborg is the debut album from Miss Grit, aka New York-based, Korean-American artist Margaret Sohn. Released via Mute, the follow-up to 2021’s Impostor EP was recorded entirely in their home studio and features contributions from Stella Mozgawa of Warpaint, Aron Kobayashi Ritch of Momma, and Pearla. Sohn cites films including Her, Ex Machina, and Ghost in the Shell, as well as essays by Jia Tolentino and Donna Horroway’s A Cyborg Manifesto, as inspirations for the record, which was preceded by the singles ‘Like You’, ‘Lain (phone clone)’, ‘Nothing’s Wrong’, and the title track.
Death Valley Girls have put out their latest LP, Islands in the Sky, via Suicide Squeeze Records. Bandleader Bonnie Bloomgarden came up with the album’s title while she was bedridden with a mysterious illness that lasted five months, explaining, “When I was sick I had to sleep most of the day. I kept waking up every few hours with an intense message to take care of the island, feed the island…I have no idea why, but making music for the island kept coming up… I started to wonder if it would be possible to write a record with messages of love to my future self.” She added, “I realized that if we are all part of one cosmic consciousness, as we [Death Valley Girls] believe, then Islands in the Sky could serve not only as a message of love and acceptance to myself, but also from every self to every self, because we are all one!”
More Than a Goodbye is the debut full-length from New York-based singer-songwriter Carolyn Flaherty, who records Carol. Following her 2019 EP Softest Destroyer, the album was laid down in the summer of 2020. “The songs on this album are about the most simple dualities and the most simple ceremonies that we can see all the time,” Carol shared in a statement. “I’m not only thinking about the languages that exist between people, but also the language between worlds, between us and nature, and how as much as language can help us communicate, it can also prohibit us from learning things in so many ways.”
Yeat, Aftërlyfe; Quinnie, flounder; Gina Burch, I Play My Bass Loud; BIG|BRAVE, nature morte; Sam Gendel, COOKUP; Don Toliver, Love Sick; Dougie Poole, The Rainbow Wheel of Death; Tink, Thanks 4 Nothing; Model/Actriz, Dogsbody; Gracie Abrams, Good Riddance; Model/Actriz, Dogsbody; Hundred Reasons, Glorious Sunset; Jenny O., Spectra; David Brewis, The Soft Struggles; Babymetal, The Other One; Logic, College Park; Godsmack, Lighting Up the Sky; The Necks, Travel; Yosuke Tokunaga, 8 Quadrants; Chicks on Speed, Uploading the Human; Saint Abdullah & Jason Nazary, Evicted in the Morning.
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