LCD Soundsystem are back with a new track. Marking their first new music in five years, the song will appear on the soundtrack to Noah Baumbach’s upcoming film adaptation of Don DeLillo’s White Noise. Listen to ‘New Body Rhumba (From the Film White Noise)’ below.
LCD Soundsystem frontman James Murphy previously scored Baumbach’s films Greenberg and While We’re Young. The band, whose last album was 2017’s American Dream, appeared on Saturday Night Live in February 2022.
Hyd, the alias of PC Music affiliate Hayden Dunham, has a new song out called ‘Breaking Ground’. It’s the latest offering from their upcoming debut LP CLEARING, which was previously teased with the Caroline Polachek-produced single ‘Afar’ and ‘So Clear’. Finn Keane (EASYFUN) co-wrote and produced the track, which features additional production by A.G. Cook. Check it out below.
CLEARING is slated for release on November 11 via PC Music.
London punk five-piece High Vis formed in 2016, but its members – vocalist Graham Sayle, guitarists Martin Macnamara and Rob Hammeren, bassist Rob Moss, and drummer Edward ‘Ski’ Harper – have been playing in influential UK hardcore bands for years. In late 2019, the group released their debut LP, No Sense No Feeling, a fiery post-punk record that confronted nihilism, violence, and social disenfranchisement from an unflinchingly political, working-class perspective, but struggled to find much meaning beyond rageful catharsis. A different kind of emotional awareness permeates their sophomore album, Blending, out tomorrow; Sayle’s bracingly vulnerable lyrics are given more space against the grand, shimmering instrumentation, which draws more openly from genres like shoegaze and Britpop. At once poignant and anthemic, Blending suggests there’s no end to the battle between hope and desperation, but it can at least be fertile ground for clarity as much as fear. “We’re destitute and we’re demoralised/ Our suffering disguised as pride,” Sayle proclaims on highlight ‘0151’, but Blending makes no attempt to hide the bleakness behind the surface. Even in its most downcast and disarming moments, it’s the sound of a group lifting itself up.
We caught up with High Vis’ Graham Sayle for this edition of our Artist Spotlight interview series to talk about the personal changes that led to their new album Blending, vulnerability, growing up in hardcore, and more.
The album comes out in a few days. How are you feeling?
I’m excited and scared, I think is the best way to put it. I’ve talked a lot about it, and I don’t really have a filter. I’ve kind of put everything out there. Obviously, that’s the correct way to act in a safe space. But I just clocked that it’s not a safe space, is it? [laughs] It’s a vicious world. So I’m a bit terrified, to be honest. I still feel comfortable that everything we’ve done is true to ourselves. It’s a real representation of the space we’re in as people and at a time. But I also feel really vulnerable, and I think a couple of us are feeling vulnerable. It’s very easy to exist in a microcosm where almost everyone is self-regulating, it’s self-policing. For its failings, punk and hardcore is quite a familiar space. You know, I had someone in my workplace come up to me and say, “Do you play in High Vis?” And I was like, “Yeah.” He’s like, “I know your band.” And I was in my head just thinking, “No you don’t. [laughs] You haven’t got a clue.”
Going back to when you formed High Vis in 2016, how do you look back on that time in your life now?
It’s taken a lot of shapes, the line-up’s changed a few times, but we’ve definitely grown with it. I don’t like to romanticize it too much, but the people that we were when we started are miles apart from the people we are now. The band’s definitely been a vehicle for change and support, and it’s been a constant in all our lives. Which is good, because I think we were a lot more volatile as people back then. Having a relationship with four other people, it’s hard work. It’s not an easy thing to stay together and keep making music and stay creative. I feel very different from that person. Obviously, how you feel about that changes all the time.
With the release of Blending coming up, are you tempted to compare the album to your debut?
There’s so much more space in the new record. When I hear the songs on it, it does all take me back to the moment of writing them, and there’s a lot captured in that. I don’t have any defence mechanisms really now, like, what you see is what is happening. I can’t hide anything on my face, I cry at fucking anything nowadays. [laughs] It’s insane. But the first album felt so tense – it was so tense. I was very angry and confused and just sort of inside myself, and that really shows on the record when I listen to it. Some of them, I can hear my voice breaking, I remember putting everything into it – this sort of screaming into nothingness, just feeling empty and feeling pretty hopeless. And it’s still better to be active and taking the risk to do something, even if it’s quite familiar and it’s just an expression of anger or confusion. It’s better to do something. I think the new record is trying to find some clarity in yourself and in how you feel, and really understanding where those feelings came from.
You’ve said that the lyrics are “less selfish” this time around. What did it take for you to shift your perspective and open up your songwriting in this way?
I started going to talking therapy, just exploring my past, trying to have open conversations with everyone around me about how I felt and how things made me feel. Taking the difficult steps of being honest and trying not to take the easy route for anything. I got diagnosed with ADHD, finally – people had thought that for a long time, I didn’t get diagnosed in school. My brother is disabled and had a nightmare in school, getting terrorized because people are awful. I’ve always had a lot more energy than people and I’ve always been really scattered, I struggle to stay on topic. When I got diagnosed with that, that taught me a lot about myself, so I forgave myself and I started to understand myself a bit better. I’d started being more medicated in a sense, and it slows things down for me to be able to work methodically and not have this erratic, fucking racing mind just drive me mental. [laughs] I also stopped drinking, which is a big thing. I basically tried to do everything to make sense of my life.
Did that change the role that music had for you, or was that a constant? How did it fit into your songwriting?
It definitely made me more open to taking chances. Historically, I’ve had an idea about something and I will pursue that idea, and I think it was quite ego-driven. It didn’t necessarily give space for other people to put ideas forward. And then it kind of softened my approach to stuff. That’s where the kind of “blending” thing comes from, in the sense of, I stopped having such solid dividing boundaries between subsections of my hobbies or tastes, and start pulling from a lot of different places. Being like, I can talk about this side of my life and this, whereas in the past, you just try and fit into the mould and blend in, like if you’re into punk you’re a certain way. I just tried to stop thinking like that.
A lot of people reduce hardcore to this cathartic release of anger. What other potentials do you see in it, that maybe you didn’t recognize growing up in the scene?
When I found it, I was like, “Oh yeah, this is me. This is the energy, this is what I feel.” It gave me a space to be someone, essentially. I felt felt seen and felt a part of something. And it had good role models is one thing as well – hardcore has a lot positive action. And the approach of people putting records out for their friends – I made some amazing friends, some my best mates, and worldwide. You’d meet someone, and you knew you’d have something in common with them because you both felt this the same thing towards, you know, feeling mental and wanting to dive on people’s heads. [laughs] You do perpetuate a cycle where you release energy, but I never quite got to find out where all that anger came from. But maybe if everyone started talking about their feelings, there wouldn’t be any hardcore bands. Yeah, hardcore’s the best. Even when I listen to records I loved as a kid now, I still feel the same thing. I still feel my blood boil and want to kill everyone. [laughs] That’s kind of cool.
There’s still that emotional connection, even if –
Even if I know, you know what, I shouldn’t go out and… [laughter]
Right.
It’s a useful feeling.
I wanted to talk about the idea of “competitive morality” that you sing about on ‘Morality Tests’. It sounds to me like it comes less from a place of resentment towards others or society than a genuine sense of self-acceptance around shame.
Yeah, absolutely. I really love that song. I’m trying to make sense of – we’re all flawed humans, you know. No one’s right. A lot of people are more right than others, but we all fuck up, and we all need to try and understand why we fuck up rather than trying to cut other people down or step on people. What happens when people fuck up? Do people just get written off and that’s it? And I’m not trying to – everyone needs to be called out for any bad behaviour.
I’m trying to make sense of this stuff myself as well. Because in my life, I was thinking about – you know, my friend was killed when I was young, by these kids, and trying to understand that kind of thing and not being… In the past, I was a reactionary person. I’d kick off at situations and things that I saw to be morally wrong. I’ve really fought with this stuff. And especially with my brother, he’s disabled and he’s vulnerable, people taking advantage of him – I was extremely protective and I wanted to just punch sense into everyone, you know. And I’m trying to find out what’s the right thing to do. What is the right way to react to this stuff? As a society, as a human, what’s the best way to deal with this kind of thing? It’s not necessarily about forgiveness or something straight away. Holding on to the hate and all that, it’s like the old hot coal burning yourself analogy. I still have a lot of things that I hold on to, and I want to let go.
Vulnerability is something that’s talked a lot about in the music world, but it’s easier to preach about than put into practice. As a band, how do you go about creating that space of authenticity? How did the openness you found in yourself feed into your ethos as a group?
We’re super open with each other now and having conversations about how we feel about stuff. Everyone has an equal voice. A lot of bands, there’ll be one person or two people who write stuff and then people play, and they’ll be, “We’re the songwriters, and you guys play.” I think it’s a lot more open, because some periods, Rob Hammeren and Ski would write most of it, and on Blending, Ski and Martin, when Martin joined, he was writing a lot more. But everyone has an input. No one’s like, “No, that’s not gonna work.” You kind of have check your ego a bit and be open to everything. That’s the thing, it’s kind of an ego thing. We’re a proper band of mates who sometimes might find each other difficult. [laughs] But we’re stuck with each other. We can’t be like, “Fuck it, we’ll get another guitarist.” We’ve all been through so much together. You can’t pick your mates, can ya, as they say.
What inspires you the most about your bandmates?
I mean, Ski, the drummer, he’s one the most important people in my life. He’s really done so much for me. He’s the person who’s given me a space to do this stuff and feel, and like, be better. I’ve gone from being in quite a bad way and not really seeing the future in anything to – see, I get emotional. [laughs] It’s mad. But everyone – you know, Rob Moss was in the first band I was ever with with me. I love playing in a band with him, he’s amazing. Rob Hammeren has brought himself back from really the pits of depression, which is super inspiring to see. And Martin is just the most straight, easy constant in my life. It’s amazing. As people, they’re fucking nutters, but I love them.
This interview has been edited and condensed for clarity and length.
Arctic Monkeys have shared the second single from their seventh album The Car, which is set to arrive on October 21 via Domino. Following lead single ‘There’d Better Be a Mirrorball’, which made our Best New Songs list, ‘Body Paint’ comes with an accompanying video directed by Brook Linder and filmed in London and Missouri. Watch and listen below.
Based on James Sallis’s 2005 novel, Drive is a 2011 film adaptation directed by Nicolas Winding Refn. Refn is known for helming cinematic crime dramas with a vibrant visual aesthetic, and for his collaborations with Ryan Gosling, who stars in Drive as an unnamed stunt driver (he follows this role with a similar one in the 2012 film, The Place Beyond the Pines).
When Irene (Carey Mulligan) and her son (Kaden Leos) move into an apartment next to the driver’s, he feels drawn to the pair and grows close to them. Their new bond is disrupted when Irene’s husband Standard (Oscar Isaac) is released from prison. Wanting to protect the family and help Standard pay his debts, the driver offers to be his getaway driver in a robbery. Over the course of the film, Gosling’s character is pushed closer to his limits until he’s on the wrong side of the law; despite his solitary nature, he’s learning how to show love and care for someone, which results in a neo-noir blend of tenderness and violence (which is reflected in the film’s use of lighting).
Cinematographer Newton Thomas Sigel often lingers on Gosling as he drives down deserted city streets at night, or shows the driver cutting glances in the rearview mirror. Color contrasts are a big part of Drive‘s aesthetic, as seen in the following stills:
Automated trading robots enable you to trade cryptocurrencies, equities, foreign exchange, and other assets without having to put in countless hours of study on your own. These systems are meant to identify situations in the market that have the potential to generate profits and then automatically execute transactions on your behalf.
Trading robots can not totally eliminate the need for human effort, however, they make it much simpler for novice traders to generate profits from market activity.
Emotional trading, also known as emotional attachment, is one of the factors that are most destructive to the earnings of online traders and the general accomplishment of the market as a whole.
Irrational thinking can be caused in traders by strong emotions such as dread, selfishness, and frustration. This can frequently lead to increased risk and the making of trading decisions that are not in the trader’s best interest.
Because of this, a substantial number of traders use an electronic trading system, which is sometimes called a trading robot, to make trading signals, place orders, and handle trades. They are not limited by their bodies like human traders are.
Instead, they have been coded to follow a set plan and make trades at set times, no matter what happens. Trading robots will mostly look at market data to find rhythms and technical indicators, like moving averages, that can trigger signals for buying and selling.
Trading robots can be divided into various categories according to the assets that they trade. Numerous sites are now available that will review the 10 best trading robots in 2022 for you, these types of sites will allow you to make the best choice depending on your trading needs without having to try them out yourself first.
Bitcoin trading robots commonly referred to as crypto trading robots, make up the majority of the top trading robots that we tested and reviewed. The primary emphasis of these robots is Bitcoin, in addition to other cryptocurrencies such as Ethereum, Bitcoin Cash, Litecoin, and Ripple.
Due to the high level of volatility and the fact that the market is open around the clock, trading robots are ideally suited for the cryptocurrency market. Therefore, cryptocurrency trading robots are able to locate a significant amount of daily trading strategies and do not need to take a trading break.
A Bitcoin trading robot functions very similarly to a forex trading robot, with the exception that a forex trading robot trades pairs of fiat currencies rather than pairings of cryptocurrencies. The majority of forex trading bots have the capability to market all major currency pairs in addition to a large variety of minor currency pairings. Forex robots typically make use of leverage so that they can capitalize on very minor shifts in the pricing of various currencies.
Automated Trading Systems for Commodities
Trading bots for commodities engage in the buying and selling of tangible products such as oil, gold, silver, copper, wheat, and soy. Typically, commodities bots will trade commodities CFDs rather than the underlying goods, which means you won’t ever have to worry about taking possession of it.
Stock Trading Robots
Stock trading robots are developed to trade stocks. You might be able to trade all US equities that are listed on the NYSE or NASDAQ, but it varies based on the stock trading bot, you might only be able to trade a subset of common stocks that have above-average fluctuation.
Some stock trading bots engage in direct trading of shares, but the vast majority utilize CFDs instead. This allows the bots to take short positions and make use of leverage when trading.
You can make money even with the best trading robots, but it’s important to remember that profits are not a given. Even if you use robots to help you trade, there are still risks.
Still, a lot of trading robots say their win rates are high. For instance, Bitcoin Prime says that the trades that its algorithm makes win up to 90% of the time.
If a trading bot has a demo mode, that’s the best way to find out if it can make money in the current market. Remember that what happened in the past is no guarantee of what will happen in the future. Your money is at risk when you use a trading robot.
If you use a day trading bot, you might lose money. Even though these robots say they make money, there is no guarantee that you will make money or that the robot will make money if the market is different than it was in the past. All of the money in your trading robot account is in danger.
Tradable assets – First, analyze what assets a robot can trade. Want to trade crypto, stocks, FX, or commodities? Some crypto trading robots just trade Bitcoin, while others trade dozens. More assets to trade can lead to more trading opportunities, but single-market bots may be easier to handle.
Performance – Trading robots generally state their success rates, making comparisons easier. Most win rates aren’t confirmed, so it’s difficult to tell how resilient a robot is to market conditions. To compare trading bots, use demo accounts.
Commissions and fees – Many trading robots are free to use however, some companies do charge a low fee of about 2% commission, therefore choosing to not pay commissions is better. Commissions are only paid when you make money.
Account Demo – Take advantage of most crypto trading robots’ demo accounts. Demo accounts allow you to test a platform before making genuine trades. You can utilize a demo account to optimize a trading robot’s settings for different market situations.
Deposit Minimum – All reviewed trading robots require a $250 deposit. Some may require a lower deposit. Your deposit is always free to withdraw.
It is essential to keep in mind that despite the fact that trading robots have been shown to be advantageous, in particular for experienced traders, these programs are not the magic bullet that will ensure immediate success in the market for newbie traders. They should instead make a commitment to putting in the time behind the computer and gaining as much experience as they can so that they may better comprehend the art of online trading, and in doing so, assure a fruitful and long-term trading career for themselves.
When looking for new comedies to watch, it can be difficult not to miss the era of Judd Apatow, Will Ferrell, Sth Rogan, Jona Hill, and the like. There have been a few ways to describe this era of comedy, from “absurdist buddy” comedy to “guys who love each other but in a totally hetero way” comedy, and there is plenty of crossover with some of the comedy that came from before, with the Farrelly brothers often seen as some of the pioneers of this particular brand that we’re going to call “dumb dude comedy.” Here, we’re going to look at some of the highlights of the genre that many of us are still pining for.
“Yes, I tricked you. It was deceitful, it was disgusting and despicable. But just for once, see it from my side. I was horny.” – Hank
It’s right at the beginning of the true ascent of dumb dude comedy, and from the Farrelly Brothers, who can aptly be called the progenitors of the genre (though perhaps not solely.) However, Me, Myself & Irene shows that dumb dude comedy is left entirely to the dudes. Yes, it’s true that many of the best lines of this crass and absurd movie are delivered in rapid-fire by Jim Carrey’s Hank, the ruthlessly potty-mouthed and mean-spirited “split personality” of his meek-mannered Charlie. However, it’s Renee Zellweger’s Irene that plays the perfect straight man to his absurdity and the two (or three?) characters have excellent chemistry.
“You should have never let us make bunk beds! It was a terrible idea! There’s blood everywhere! Dad, Nancy, it’s so bad. There’s blood everywhere. Those bunk beds were a terrible idea. Why’d you let us do that? It’s so bad!” – Dale
By the time Step Brothers came out, it’s fair to say that Will Ferrell was already a comedy superstar, fitting perfectly into the role of the sensitive manchild, Dale, but who could have known that John C. Reilly had the same kind of comedy chops before his performance as the more bull-headed Brennan? It’s these two and their all-kinds-of-weird relationship that drives the movie, from the absurdly named band-slash-company Prestige Worldwide (now the name of the movie’s own premier fansite) to the unforgettable bunk bed scene. Perhaps one of the last truly great dumb dude comedies.
“They literally stopped me from eating foods that were shaped like d***s. No hot dogs, no popsicles… You know how many foods are shaped like d***s? The best kinds.” – Seth
Dumb dude comedies are often thought to be relegated to overly close relationships between adult men or stoner comedies (best personified in Seth Rogen), but Superbad aged down the dumb dude humor to crossover with the well-trodden college comedy genre. Pretty much the exploits of a bunch of pea-brained teenagers, each of the main trio have their moments to shine, with Michael Cera practically perfecting his trademark awkwardness, Jonah Hill’s precision quip delivery as the uniquely coarse Seth, and the underrated Christopher Mintz-Plasse shining as McLovin, the one joke that has stood out the most despite his relatively low billing compared to the other two main stars.
“It’s a formidable scent… It stings the nostrils. In a good way… Brian, I’m gonna be honest with you, that smells like pure gasoline.” – Ron
To some, the pinnacle of the dumb dude comedy. Will Farrell was already a seasoned comedy actor by the time the 2004 megahit directed by Adam McKay came out. However, after this film, he rocketed to stardom and pretty much made a career of roles (such as that in Step Brothers) after this movie. But it would be remiss to look at Will’s performance as the titular Ron with everything from his strange cadence to his drop-of-a-hat emotionality as the only comedic heart of the movie. It’s a true ensemble cast, with Christina Applegate’s Veronica pulling the perfect foil, and Paul Rudd, Steve Carell, and David Koechner each having their own perfect times to shine with lines as quotable as they are downright stupid. It’s a shame the sequel didn’t manage to catch the same lightning in a bottle as the first. Not unlike some of Adam McKay’s other attempts in the genre.
“Don’t you put that evil on me, Ricky Bobby! Don’t you put that on us!” – Lucius
Before The Anchorman 2, there was another attempt to find dynamite with the pairing of Adam McKay and Will Ferrell. Unfortunately, for a lot of us, it fell pretty flat. However, it did still have some excellent line deliveries, with everything about the “Lord Baby Jesus” being particularly memorable. What’s more, it brought the trio of Will Ferrell, Adam McKay, and John C. Reilly together, leading to the aforementioned greatness that was Step Brothers. It’s not an awful comedy by any means, but as some critics were quick to point out, Anchorman had left us expecting much more from this duo, which they would (thankfully) eventually deliver on.
“You know, when you grab a woman’s breast…and you feel it, and…it feels like a bag of sand.” – Andy
It has been pretty hard to get away from both Will Ferrell and Adam McKay throughout this list, but there’s one name who has been in the background for a lot of these movies (usually working as producer) that we have yet to grace: Judd Apatow. While Judd’s movies might not have all stood the test of time (Knocked Up is still great), The 40-Year Old Virgin is peak dumb dude comedy and one of Steve Carrell’s best comedic performances as the awkwardly loveable Andy. It’s another great ensemble cast with an admittedly weak plot, but plenty of great quotables.
Dumb dude comedy has left its snarky but intentionally dim-witted impact on the comedy scene forever, but it’s up for debate whether we’ll ever see the likes of the classics mentioned above ever again.
The Sonder Bombs have returned with a new single called ‘The Star’, marking the Cleveland band’s first new music since 2021’s Clothbound. Give it a listen below.
Discussing the new song, the band’s Willow Hawks said:
I wrote this song almost in a panic. It sprang from me. The past year, I’ve been struggling pretty severely with my mental health and so it came from being completely submerged in that pain for long periods at a time. I was getting to a point where I wasn’t sure I wanted to be here or if it would ever get better. In the past, I’ve used music and art to move through these moments. More recently my relationship with music has been pretty complicated. On one hand, its an incredibly beautiful and rewarding and comforting way to process my emotions. I get to travel with my friends and play shows. I have community. It is a gift. On the other hand, I have severe mental illness working against me & there’s so much self doubt that goes into everything I make. After our second record, I felt like such an abject failure & I definitely didn’t feel like I deserved to pursue the dream anymore. Like I had wasted my opportunity & potential. For me, “The Star” represents a guiding sense of hope that pulled me out of the darkest and deepest parts of myself. It took making this song to realize that for me, the guiding force is music.
The Flaming Lips have announced a 20th anniversary reissue of Yoshimi Battles the Pink Robots. A 6xCD box set will be released on November 25, featuring 50 previously unreleased tracks and “dozens of rare tracks,” among them B-sides, demos, remixes, radio sessions, two concerts, and other rarities. A 56-track, 5xLP set will follow on April 14, 2023, which will include “40 tracks never released on vinyl and over 30 previously unreleased tracks,” according to a press release. There will also be a limited edition pressed on Baby Pink vinyl. Check out the reissue details and listen to a live rendition of ‘Ego Tripping at the Gates of Hell’ from XFM below.
Yoshimi Battles the Pink Robots: 20th Anniversary Edition will be available on all streaming services through Warner, and all tracks in the CD set that aren’t part of the initial vinyl reissue will be released on vinyl separately next year. In addition, the Ego Tripping at the Gates of Hell and Fight Test EPs will come out on vinyl for the first time in the spring of 2023. Flaming Lips will also play two anniversary shows, one in London on April 28 and another in Washington, DC on May 25.
Yoshimi Battles the Pink Robots: 20th Anniversary Deluxe Edition Tracklist:
6 CD Box Set
CD 1: Original Album, plus demos
1. Fight Test
2. One More Robot/Sympathy 3000-21
3. Yoshimi Battles The Pink Robots Part 1
4. Yoshimi Battles The Pink Robots Part 2
5. In The Morning Of The Magicians
6. Ego Tripping At The Gates of Hell
7. Are You A Hypnotist
8. It’s Summertime
9. Do You Realize??
10. All We Have Is Now
11. Approaching Pavonis Mons By Balloon
12. All My Life – Morning Of The Magicians (Demo)
13. Ego Tripping Part 2 or 3 (Demo)
14. Yoshimi Battles The Pink Robots (Demo)
15. Hypnotist: Early Version (Demo)
16. Epic Systems Delirium (Demo)
17. In The Morning Of The Magicians (Demo)
18. Do You Realize?? (1st Chords Wayne) (Demo)
19. Do You Realize?? (Steven New Part) (Demo)
CD 2 – Fight Test and Ego Tripping at the Gates of Hell EPs
Fight Test EP:
1. Fight Test
2. Can’t Get You Out Of My Head (Live on KEXP)
3. The Golden Age (Live on CD 101)
4. Knives Out (Live on KCRW)
5. Do You Realize?? (Scott Hardkiss Remix)
6. The Strange Design of Conscience
7. Thank You Jack White (For The Fiber-Optic Jesus That You Gave Me)
Ego Tripping at the Gates of Hell EP:
8. Assassination Of The Sun
9. I’m a Fly in a Sunbeam (Following the Funeral Procession of a Stranger)
10. Sunship Balloons
11. Do You Realize?? (T.P.S. Remix)
12. Ego Tripping (Ego in Acceleration) (Jason Bentley Remix)
13. Ego Tripping (Self Admiration with Blow-up Mix)
14. A Change at Christmas (Say It Isn’t So)
15. Ego Tripping at The Gates of Hell (Utah Saints Remix)
CD 3 – Non-LP+
1. Yoshimi Battles The Pink Robots (Japanese Language Version From The Japanese Edition of Yoshimi Battles The Pink Robots)
2. SpongeBob & Patrick Confront The Psychic Wall Of Energy (From The Spongebob SquarePants Movie)
3. Seven Nation Army (from LateNightTales: The Flaming Lips)
4. Go (Sparklehorse with The Flaming Lips) (Alternate Version From The Flaming Lips Archives)
5. Do You Realize?? (Live on CD 101)
6. Yoshimi Battles The Pink Robots (AOL Session)
7. Waitin’ For A Superman (Live on WXPN)
8. In The Morning Of The Magicians (Live on KCRW)
9. White Christmas (Live on WXPN)
10. The Golden Path (The Chemical Brothers, feat. The Flaming Lips)
11. If I Go Mad/Funeral In My Head (B-Side of Do You Realize?? UK CD 1)
12. Syrtis Major (B-Side of Do You Realize?? UK CD 1)
13. Up Above The Daily Hum (B-Side of Do You Realize?? UK CD 2)
14. Xanthe Terra (B-Side of Do You Realize?? UK CD 2)
15. The Deterioration Of The Fight Or Flight Response (B-Side of Fight Test UK CD 1)
16. Fight Test (Live on WXRT, May 2nd, 2003)
17. Duck Dodgers Theme (Duck Dodgers Demo: With Wayne Scratch Vocal)
18. I Know I’ve Got To Make That Dream The Real Thing (demo)
19. Do You Realize?? (Instrumental)
20. Fight Test: Primitive Demo With Helium Voice (B-Side of Fight Test UK CD 2)
CD 4 – Radio Sessions
1. Suspicious Minds (Live on Cover-ed)
2. Assassination Of The Sun (Live on BBC Radio 1) (Maida Vale Session July 2002)
3. Can’t Get You Out Of My Head (Live on BBC Radio 1) (Maida Vale Session July 2002)
4. Do You Realize?? (Live on BBC Radio 1) (Maida Vale Session July 2002)
5. One More Robot (Live on BBC Radio 1) (Maida Vale Session July 2002)
6. Do You Realize?? (Live on KEXP) (August 5, 2002)
7. One More Robot (Live on KEXP) (August 5, 2002)
8. Yoshimi Battles The Pink Robots (Live on KEXP) (August 5, 2002)
9. Do You Realize?? (Live on XFM) (July 11, 2002)
10. One More Robot (Live on XFM) (July 11, 2002)
11. Can’t Get You Out Of My Head (Live on XFM) (July 11, 2002)
12. Fight Test (Live on XFM) (June 26, 2003)
13. Thank You Jack White (Live on XFM) (June 26, 2003)
14. Breathe (Live on XFM) (June 26, 2003)
15. Ego Tripping At The Gates of Hell (Live on XFM, November 11th, 2003)
16. Sunship Balloons (Live on XFM, November 11th, 2003)
17. Ego Tripping At The Gates of Hell (Live on BBC Radio 1) (Oct 31, 2003 Janice Long Show)
18. Yoshimi Battles The Pink Robots (Live on BBC Radio 1) (Oct 31, 2003 Janice Long Show)
19. Sunship Balloons (Live on BBC Radio 1) (Oct 31, 2003 Janice Long Show)
CD 5 – Live 2002+: Radio Broadcast WBOS (Live at the Paradise Lounge, Boston, October 27 2002), plus Yoshimi Demo
1. Introduction
2. The Golden Age
3. Wayne Intro 1
4. Lucifer Sam
5. Wayne Intro 2
6. Do You Realize??
7. Wayne Intro 3
8. Yoshimi Battles The Pink Robots
9. Wayne Intro 4
10. Fight Test Intro
11. Fight Test
12. Psychedelic Hypnotist Daydream (Demo)
CD 6 – Live 2003: Radio Broadcast BBC (Live at The Forum, London, UK, January 22, 2003)
1. Introduction
2. Race For The Prize
3. Fight Test
4. Lucifer Sam
5. Yoshimi Battles The Pink Robots
6. Lightning Strikes The Postman
7. In The Morning Of The Magicians
8. Happy Birthday
9. She Don’t Use Jelly
10. All We Have Is Now
11. Do You Realize??
12. Waitin’ For A Superman
13. A Spoonful Weighs A Ton
14. What Is The Light?
15. The Observer (Fade Out)
5 LP Vinyl Box Set
LP 1 – Original Album
Side 1
1. Fight Test
2. One More Robot/Sympathy 3000-21
3. Yoshimi Battles The Pink Robots Part 1
4. Yoshimi Battles The Pink Robots Part 2
5. In The Morning Of The Magicians
Side 2
Ego Tripping At The Gates of Hell
Are You A Hypnotist
It’s Summertime
Do You Realize??
All We Have Is Now
Approaching Pavonis Mons By Balloon
LP 2 – Demos+
Side 3
All My Life – Morning Of The Magicians (Demo)
Ego Tripping Part 2 or 3 (Demo)
Yoshimi Battles The Pink Robots (Demo)
Hypnotist: Early Version (Demo)
Epic Systems Delirium (Demo)
In The Morning Of The Magicians (Demo)
Side 4
Do You Realize?? 1st Chords Wayne (Demo)
Do You Realize?? Steven New Part (Demo)
Fight Test: Primitive Demo With Helium Voice
If I Go Mad/Funeral In My Head (B-Side of Do You Realize?? UK CD 1)
Syrtis Major (B-Side of Do You Realize?? UK CD 1)
LP 3 – Non-LP+
Side 5
Yoshimi Battles The Pink Robots (Japanese Version)
SpongeBob & Patrick Confront The Psychic Wall Of Energy (From The Spongebob SquarePants Movie)
Seven Nation Army (From LateNightTales: The Flaming Lips)
Go (Sparklehorse with The Flaming Lips) (Alternate Version From the Flaming Lips Archives)
The Deterioration Of The Fight Or Flight Response (B-Side of Fight Test UK CD 1)
Fight Test (Live on WXRT)
Side 6
Do You Realize?? (Live on CD 101)
Yoshimi Battles The Pink Robots (AOL Session)
Waitin’ For A Superman (Live on WXPN)
In The Morning Of The Magicians (Live on KCRW)
White Christmas (Live on WXPN)
The Golden Path (The Chemical Brothers, feat. The Flaming Lips)
LP 4 – Radio Sessions
Side 7
Suspicious Minds (Live on Cover-ed)
Assassination Of The Sun (Live on BBC Radio 1) Maida Vale Session July 2002
Can’t Get You Out Of My Head (Live on BBC Radio 1) Maida Vale Session July 2002
Do You Realize?? (Live on BBC Radio 1) Maida Vale Session July 2002
One More Robot (Live on BBC Radio 1) Maida Vale Session July 2002
Side 8
Do You Realize?? (Live on KEXP) Aug 5, 2002
One More Robot (Live on KEXP) Aug 5, 2002
Can’t Get You Out Of My Head (Live on KEXP) Aug 5, 2002
Yoshimi Battles The Pink Robots (Live on KEXP) Aug 5, 2002
Breathe (Live on XFM) June 26 2003
Ego Tripping At The Gates of Hell (Live on XFM) Nov 11, 2003
Sunship Balloons (Live on XFM) Nov 11, 2003
LP 5 – Radio Sessions+
Side 9
Fight Test (Live on XFM) June 26 2003
Thank You Jack White (Live on XFM) June 26 2003
Do You Realize?? (Live on XFM) July 11, 2002
One More Robot (Live on XFM) July 11, 2002
Can’t Get You Out Of My Head (Live on XFM) July 11, 2002
Side 10
1. Ego Tripping At The Gates of Hell (Live on BBC Radio 1) Oct 31, 2003 BBC Janice Long Show
2. Yoshimi Battles The Pink Robots (Live on BBC Radio 1) Oct 31, 2003 BBC Janice Long Show
3. Sunship Balloons (Live on BBC Radio 1) Oct 31, 2003 BBC Janice Long Show
Up Above The Daily Hum (B-Side of Do You Realize?? UK CD 2)
Xanthe Terra (B-Side of Do You Realize?? UK CD 2)
Bruce Springsteen has announced a new covers album: Only the Strong Survive will be out November 11 via Columbia Records. The album is a celebration of soul music and sees the Boss taking on tracks from the catalogues of Motown, Gamble and Huff, Stax, and more. It also features guest vocals by Sam Moore, contributions from The E Street Horns, string arrangements by Rob Mathes, and backing vocals by Soozie Tyrell, Lisa Lowell, Michelle Moore, Curtis King Jr., Dennis Collins, and Fonzi Thornton. Check out Springsteen’s rendition of Frank Wilson’s ‘Do I Love You (Indeed I Do)’, along with a video directed by Thom Zimny, below.
“I wanted to make an album where I just sang,” Springsteen commented in a press release. “And what better music to work with than the great American songbook of the Sixties and Seventies? I’ve taken my inspiration from Levi Stubbs, David Ruffin, Jimmy Ruffin, the Iceman Jerry Butler, Diana Ross, Dobie Gray and Scott Walker, among many others. I’ve tried to do justice to them all—and to the fabulous writers of this glorious music. My goal is for the modern audience to experience its beauty and joy, just as I have since I first heard it. I hope you love listening to it as much as I loved making it.”
Only the Strong Survive, which follows 2020’s Letter to You, was recorded at Thrill Hill Recording in New Jersey with producer Ron Aniello. It was engineered by Rob Lebret and executive produced by Jon Landau.
Only the Strong Survive Cover Artwork:
Only the Strong Survive Tracklist:
1. Only the Strong Survive
2. Soul Days feat. Sam Moore
3. Nightshift
4. Do I Love You (Indeed I Do)
5. The Sun Ain’t Gonna Shine Anymore
6. Turn Back the Hands of Time
7. When She Was My Girl
8. Hey, Western Union Man
9. I Wish It Would Rain
10. Don’t Play That Song
11. Any Other Way
12. I Forgot to Be Your Lover [feat. Sam Moore]
13. 7 Rooms of Gloom
14. What Becomes of the Brokenhearted
15. Someday We’ll Be Together
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