PVA have shared another track from their upcoming album Blush, which lands on October 14 via Ninja Tune. ‘Bad Dad’ follows the earlier singles ‘Untethered’, ‘Hero Man’, and ‘Bunker’. Check out a video for it below.
Speaking about the new song, the group’s Ella Harris said in a statement: “’Bad Dad’ explores the internal world of a new father checking in on his son at night, afraid of the lineage of masculinity and how it might impact someone so untainted.”
Stevie Nicks has shared a studio rendition of Buffalo Springfield’s ‘For What It’s Worth’, a song she’s been covering on tour. It marks her first new music since the release of ‘Show Me The Way’ in 2020. Listen to it below.
“I am so excited to release my new song this Friday,” Nicks wrote in a statement posted on Instagram. “It’s called ‘For What It’s Worth’ and it was written by Stephen Stills in 1966. It meant something to me then, and it means something to me now. I always wanted to interpret it thru the eyes of a woman — and it seems like today, in the times that we live in — that it has a lot to say… I can’t wait for you to hear it.”
In this segment, we showcase the most notable albums out each week. Here are the albums out on September 23, 2022:
Alex G is back with his ninth album, God Save the Animals, out today on Domino. The Philadelphia musician wrote and demoed the songs on the new LP alone at home, before enlisting multiple engineers at several studios in greater Philadelphia in search of new sounds and “a routine that was outside of my apartment,” according to press materials. Following 2019’s House of Sugar as well as his recent score for Jane Schoenbrun’s horror film We’re All Going to the World’s Fair, the record includes the early singles ‘Runner’, ‘Blessing’, ‘Cross the Sea’, and ‘Miracles’. Read our review of God Save the Animals.
Beth Orton has released her first album in six years, Weather Alive, via Partisan. The British artist wrote the follow-up to Kidsticks on an old piano she saved from Camden Market after returning home to England. “Through the writing of these songs and the making of this music, I found my way back to the world around me, a way to reach nature and the people I love and care about,” Orton explained in a statement. “This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing.”
Moss, the sophomore album from Maya Hawke, is out now via Mom+Pop. The follow-up to 2020’s Blush was made in collaboration with Benjamin Lazar Davis, Christian Lee Hutson, and Will Graefe, among others, and was mixed by Jonathan Low at Long Pond. “This record is called Moss because I’ve been gathering a lot in the last few years,” Hawke said in a statement about the album, which was preceded by the singles ‘Thérèse’, ‘Sweet Tooth’, and ‘Luna Moth’. “Sitting still and collecting a green blanket of memories and feelings. Making this record was me trying to get up and shake it off and look at all of it. It was the first step in untangling myself and really trying to look at the rock under the moss.” Read our review of Moss.
Makaya McCraven has issued his latest full-length, In These Times, via International Anthem/Nonesuch/XL. The Chicago-based percussionist, composer, and producer enlisted a host of collaborators for the follow-up to 2021’s Deciphering the Message, including guitarist Jeff Parker, harpist Brandee Younger, Macie Stewart, Junius Paul, Lia Kohl, and Marquis Hill. Featuring the singles ‘Seventh String’, ‘Dream Another’, and ‘The Fours’, the album was recorded in five different studios and four live performance spaces, with McCraven working from home during the post-production process.
How It Ends is the debut album from TOLEDO, the Brooklyn-based duo of Dan Álvarez de Toledo and Jordan Dunn-Pilz. The LP finds the pair looking back on their family histories to examine how divorce and trauma have influenced their relationships in the present. “We want it to be pretty clear that it’s about that, because as a kid I felt like, I don’t know if many albums were about that overtly,” Dunn-Pilz said in our Artist Spotlight interview. “I have a lot of friends that I was talking to during the process, too – feelings about your self-worth, how you engage in other relationships because of watching what your parents were like. It was just coming to a head in our personal lives, so it felt like a good time to address these patterns and experiences.”
Jackie Cohen has returned with her third record, Pratfall, out now via Earth Libraries. She recorded the album, which follows 2019’s Zagg, with her musical collaborator and husband Jonatha Rado. It was preceded by the singles ‘Moonstruck’ and ‘The Valley’, which features Weyes Blood’s Natalie Mering and Diane Coffee’s Shaun Fleming. “When you see it, you gasp and hold your breath because it’s so violent that you worry it’s real,” Cohen said of the album’s title in press materials, referring to Meryl Streep’s pratfall skills. “You want to look away but you can’t, not until she gets up. And when she does finally jump up and say ‘tah-da,’ you’re so relieved that it was all just a bit that you burst out laughing.”
The Comet Is Coming – the London-based jazz rave trio consisting of Danalogue (Dan Leavers), Shabaka (Shabaka Hutchings), and Betamax (Max Hallett) — have come out with a new LP on Impulse! Records. Hyper-Dimensional Expansion Beam is the follow-up to 2019’s The Afterlife, and it was recorded at Peter Gabriel’s Real World Studio, with assistance from the group’s longtime engineer Kristian Craig. After the four-day long recording process, Danalogue and Betamax then sampled, distilled, and arranged the material into a “musical message about the future of technology, humankind, spirituality, and the connectivity of the universe,” according to press materials. The singles ‘Technicolour’, ‘Code’ and ‘Lucid Dreamer’ are included on the record.
The Wonder Years are back with a new album titled The Hum Goes on Forever, out now via Hopeless Records. Arriving four years after their last studio effort, Sister Sister, it marks the band’s first LP since vocalist Dan Campbell became a father. “The low hum of sadness will never leave me,” Campbell said of the album, which deals with postpartum depression and fatherhood anxieties, in a Pitchfork interview. “What matters is the understanding that no matter how loud it is, my kids will need me. How do you take care of another person when you don’t want to take care of yourself?”
Lande Hekt has put out her sophomore album, House Without a View, today via Get Better Records/Prize Sunflower Records. Following her 2021 solo debut Going to Hell, the album includes the previously released tracks ‘Gay Space Cadets’, ‘Backstreet Snow’, and ‘Cut My Hair’. “I do feel more confident than I did when Going To Hell was coming out,” Hekt told Guitar.com. “That first record was supposed to go straight onto Bandcamp before Get Better Records offered to put it out. I was so shocked when I saw how many people bought or listened to it. This time I spent a bit longer writing and I demoed all the songs from House Without A View in a studio before recording it.
Brooklyn experimental outfit Altopalo have dropped a new album, frenemy, via Nettwerk. Following their 2018 debut frozenthere and this year’s farawayfromeveryoneyouknow, the LP includes the band’s first outside feature from Bartees Strange, who guests on the previously shared single ‘love that 4 u’. The group wanted frenemy to reflect their relationship to each other; “the least dishonest thing we could do is just make music about us,” guitarist Mike Haldeman remarked. “The source material is literally the fabric of our friendship.”
Future Teens, Self Help; Editors, EBM;Marisa Anderson, Still, Here; The Soft Moon, Exister; WILLOW, COPINGMECHANISM; Khruangbin & Vieux Farka Touré, Ali; Nikki Lane, Denim & Diamonds; Nils Frahm, Music for Animals; Dr. John, Things Happen That Way; Sofie Royer, Harlequin; Yumi and the Weather, It’s All In My Head; Sorcha Richardson, Smiling Like an Idiot; Cam’ron & A-Trak, U Wasn’t There; The Tallest Man on Earth, Too Late For Edelweiss; The Smithereens, The Lost Album; Sports Team, Gulp!; Courting, Guitar Music; Tim Burgess, Typical Music; Siavash Amini and Eugene Thacker, Songs for Sad Poets; Razor, Cycle of Contempt; Albert van Abbe & Jochem Paap, General Audio; Eerie Wanda, Internet Radio; KEN Mode, NULL; Divino Niño, Last Spa on Earth; Thme, A Grasp of Wonder.
Stormzy has new song out called ‘Mel Made Me Do It’. The seven-minute track comes with a KLVDR-directed music video that clocks in at nearly 11 minutes and includes cameos from Little Simz, Louis Theroux, Usain Bolt, Dave, and many more. The song also features a guest vocal from Stylo G and a monologue written by British lyricist Wretch 32, which is narrated by actress Michaela Coel. Watch and listen below.
Stormzy released his sophomore album, Heavy Is the Head, in 2019.
Giveon has shared a new song called ‘Time’, which appears on the soundtrack for the upcoming David O. Russell movie Amsterdam. The track was co-written by Drake, Grammy-winning producer Jahaan Sweet, and Daniel Pemberton, who composed the film’s score. Pemberton also produced ‘Time’. Give it a listen below.
Giveon’s debut album, Give or Take, dropped in June. Amsterdam hits theaters on October 7.
Hannah Jadagu has shared a video for ‘Say It Now’, her first single for Sub Pop. The track was written by Jadagu, who co-produced it alongside Max Robert Bab. Check out its Jade De Brito-directed video below.
“’Say It Now’ is my sort of inner reflection on where things have gone wrong in my past interactions and relationships with other people,” Jadagu explained in a statement. “Sonically and lyrically, I feel as though this song signifies me venturing into a new world that is even more intense and vulnerable.”
“Making this video was so special because I got to make it during my first visit to Paris,” she added. “We shot it in about 2 days, showcasing a sort of ‘day in the life’ where I do studio work and get to go around the city. It’s a nice contrast to the lyrical content, because there’s truly no time to be sad in Paris.”
Red Hot Chili Peppers have shared the new single ‘Eddie’, which is a tribute to the late Eddie Van Halen. It’s the second single from the band’s upcoming album Return of the Dream Canteen, following previous cut ‘Tippa My Tongue’. Check it out below.
“Sometimes we don’t realize how deeply affected and connected we are to artists until the day they die,” Anthony Kiedis said of the song in a statement. “Eddie Van Halen was a one of a kind. The day after his death Flea came into rehearsal with an emotional bassline. John, Chad and I started playing along and pretty soon with all our hearts, a song in his honor effortlessly unfolded. It felt good to be sad and care so much about a person who had given so much to our lives. Although the song doesn’t speak to Eddie by name, it talks about his early days on the Sunset Strip and the rock n roll tapestry that Van Halen painted on our minds. In the end, our song asks that you not remember Eddie for dying but for living his wildest dream.”
Return of the Dream Canteen is the Chili Peppers’ second LP of 2022, following April’s Unlimited Love. It’s out October 14.
Freddie Gibbs has unveiled a new single called ‘Dark Hearted’. The track was produced by James Blake, and you can check it out below.
‘Dark Hearted’ previews Gibbs’ upcoming album $oul $old $eparately, which is due for release on September 30. Earlier this month, he shared its first single, the Moneybagg Yo collaboration ‘Too Much’. Pusha T, Anderson .Paak, Scarface, Raekwon, Rick Ross, and more also guest on the record.
Harry Styles and Florence Pugh have collaborated a new song from the Olivia Wilde-directed film Don’t Worry Darling. It’s is credited to Styles and Pugh’s characters Alice and Jack Chambers, though Styles does not sing on the track. Listen to it below.
In an interview with Variety, Wilde said that Styles came up with the melody for ‘With You All the Time’ in five minutes: “In prep, Harry called me and said, ‘What’s the trigger song? Like, what’s the melody?’ I said, ‘I don’t know. I’m going to different writers to write it. Do you have anything in mind?’ And he said, ‘I’ll think about it.’ Five minutes later, he sent me a demo from his piano, and it was what ended up in the film.”
“I wanted something that could be both sweet and creepy, entirely dependent on the context,” Styles added. “I remember first playing it on the piano, and it had a sort of homemade nursery rhyme feel to it. Applied to the different moments in the film, I think it takes on a couple of different lives — I hope.”
Don’t Worry Darling is one of two films Styles is starring in this year, with Michael Grandage’s My Policeman set to arrive on November 4. His third album, Harry’s House, came out earlier this year.
When Maya Hawke wrote about all kinds of love on her debut album Blush, she had a way of tangling it up in metaphor. “You can’t scare me away,” she sang on ‘River Like You’, “I’ve tamed the moss upon the rocks/ And molded the red clay.” The song stood out in a collection about growing up that was by turns wistful and whimsical, taking us through her formative years with diaristic lyrics that were sometimes directly plucked from those years in her life. Hawke revisits that metaphor on its follow-up, Moss, an album that reflects on the same period of time with the clarity of maturity and distance, which always feels greater than it might actually be. “In the acting world, you often get cast to play 14 at 16, 16 at 20 – what’s cool about that is you know a lot more about what it means to be 14 when you’re 16,” Hawke said in a recent interview. “So I’ve been taking that ethos and using it in my music.” The result is a wonderful record that showcases her growth, honing in a particular style of indie folk while keeping in step with Hawke’s poetic yet affecting songwriting.
Both sonically and structurally, Moss is more focused and cohesive than its predecessor, which used its variety of sounds as more of a playground to explore Hawke’s musical sensibilities. It began as a collaboration with Okkervil River’s Benjamin Lazar Davis, who is attuned to the rhythmic flow and emotional subtleties of Hawke’s poetry and helps bring it to life. As the songs bloomed into a full-length’s worth, they enlisted guitarist Will Graefe as well as Phoebe Bridgers collaborators Christian Lee Hutson and Marshall Vore; Graefe also provides additional vocals on a few tracks, and Hand Habits’ Meg Duffy even makes an appearance on ‘Backup Plan’. Jonathan Low, who mixed Taylor Swift’s folklore, also mixed Moss, which clearly aims to sound like a cross between that album and Punisher. Rather than trying to reverse-engineer what a fashionable indie album sounds like in 2022, though, Hawke and her collaborators use this palette to evoke the hushed intimacy and playfulness that run through her songwriting, each adornment making it feel like a deliberate expansion from her stripped-back debut.
For one thing, there are well-written and melodically resonant songs that wouldn’t feel out of place in either one of Swift’s 2020 releases. The pre-chorus of ‘South Elroy’ offers a glimpse of that Swiftian magic, but not enough to distract from the song’s own character; ‘Crazy Kid’ comes incredibly close to the Bon Iver duets but doesn’t feel like cosplay. Moss is at its best when it zeroes in on the unique idiosyncrasies and self-aware charm of Hawke’s songwriting. On ‘South Elroy’, she contrasts the light, delicate tone of the music with lines like, “When we fought and we fucked and we fought/ I always took your side.” ‘Sweet Tooth’ has an almost sing-song quality, but the joyful sentiment at its surface – “I’m grateful for everything you put me through/ It’s the only reason now I’m any good to talk to,” she sings, likely to her mother – is undercut by ambiguous, dreamlike images of decay and loneliness.
What marks Hawke’s lyricism is partly this knack for the surreal, and Moss is shot through with a kind of giddy imagination that’s delightful to follow. ‘Thérèse’ takes inspiration from Balthus’ 1983 painting Thérèse Dreaming and drifts into a hazy meditation on personal autonomy and public perception; like the most compelling songs on the album, it feels like a gentle if slightly uncertain dance. The story of ‘Bloomed into Blue’ is draped in alliteration, but Hawke cleverly saves the most piercing line for last: “I have beliefs in my brain, I’m a bottomless sea.” There’s a darkness edging through the album that rarely scans as simple melancholy, and the rich arrangements provide more than a decorative flourish. An electric guitar bleeds through ‘Luna Moth’, a song about inflicting pain that blurs the line between memory and fantasy; on ‘Sticky Little Words’, a bitter realization is accompanied by the rise of bass harmonics that create an uneasy effect.
Hawke juxtaposes these fluttery, restless moments with stark vulnerability and resolve. “I know you bleed glitter and have a heart of stone/ But all I really want is an actor of my own,” she admits on ‘Hiatus’, which notably shies away from using too much figurative language. Similarly, ‘Driver’ avoids alluding to the singer’s life in the spotlight through veiled references – what makes it striking isn’t that you know exactly who she’s referring to when she imagines her parents “loosely necking in the back of a taxi cab,” but the way she then traces her thoughts into the story. “Now I’ll tell you a secret,” she leans in at one point, though she’s clearly apart from whoever she’s talking to. “A secret that everyone already knows/ You remind me of my father/ Your attitude/ Your disheveled clothes.” Before you know it, she takes us back to that famous proverb – “a rolling stone gathers no moss” – and you wonder if freedom, this constant movement, leads to more happiness than alienation. Either way, Hawke doesn’t let the confusion restrain her. “Oh my god, I gotta slow it down somehow,” she reminds herself at the end of ‘South Elroy’, finding beauty in the stillness.
Quick Access
Our Culture
Helpful
© 2025 Our Culture Mag Limited. All rights reserved. Use of this site constitutes acceptance of our User Agreement (updated 2/1/2025) and Privacy Policy and Cookie Statement (updated 2/1/2025). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Our Culture Mag Limited.
