Ciara is back with a new single, ‘Jump’, which features the Los Angeles hip-hop group Coast Contra. “I’m back on my mission to make the world dance,” Ciara wrote on Twitter. A music video for the track will premiere today at 12pm ET. Give it a listen below.
‘Jump’ marks Ciara’s first new solo single since 2020’s ‘Rooted’, which was produced by Hudson Mohawke and Stargate. Her last album was 2019’s Beauty Marks.
Do you love playing PC games offline? Do you miss the days when you could play your favorite games without having to worry about data caps or bandwidth restrictions? If so, you’re not alone. Offline gaming is growing in popularity, and there are several good reasons for that.
There’s something special about playing free computer games on your own – it’s like you have the opportunity to test out your skills and see how far you can go on your own. No one else is judging you, so it’s easy to let loose and have some fun. With so many free PC games to download at GameTop, there’s something for everyone to enjoy.
There are plenty of benefits to playing laptop games offline, whether you’re looking for an escape from the internet or just want to wind down and relax without distractions. Now here are the 6 reasons why it might be better to play your favorite offline games instead of online:
Whether you’re stuck in a train or just don’t have an Internet connection, you can still enjoy your favorite games without ever having to worry about an update or lag. You can play the latest and greatest releases without fearing that your connection will slow down or stop working mid-game, and you can even take your gaming with you on the go without worry of waiting until you get a chance to plug in again.
Are you tired of having to spend money on in-game items or subscriptions in order to stay alive and compete in the most popular online games? Well, that’s because you’re not alone. In fact, there are actually a lot of people out there who are sick of this whole business model, and they want to play the games without all the extra hassles. If that sounds like you, then you need to check out some of the best offline games at GameTop!
These games require no internet connection whatsoever, so you can dive right into the action without having to worry about any pesky ads or long load times. There’s a widespread misconception that “free” games are always inferior in quality. But this couldn’t be further from the truth! So whether you’re looking for a way to escape the grind of everyday life or just want to try something new and innovative, make sure to take a look at some of the best offline games out there.
When you play offline, your computer isn’t communicating with the online servers that provide updates and multiplayer gaming services for many popular games. This means that you can take advantage of these services without having to worry about using up your monthly data allotment.
One of the most common risks associated with playing online games is malware infection. malware infection can occur when you open an email that contains a link to a malicious site, when you browse unsecured web pages, or when you install a software app from an untrustworthy source. In addition, online gaming can expose you to other sensitive information, such as your passwords and financial records. By playing offline games, you reduce your exposure to these risks and enjoy the benefits of gaming without exposing yourself to potentially harmful consequences.
No one can see what you’re doing unless you choose to share your screen. You can play them on your own schedule and in your own way, without worrying about what other people think or how they’re going to judge you. It’s the perfect way to get lost in a world of virtual reality that feels just as good as it does when you’re sharing it with everyone else.
If you’re anything like me, you play video games in spurts. Sometimes when you’re playing, something will come up—a job interview, class, family obligation—and your gaming all but disappears. That’s where offline game mode comes in. Offline mode gives you the ability to continue playing your game even when you’re not connected to the internet. This means that no matter what comes up, you can still finish the story or level or fight the boss. In offline game mode, your progress in the game is saved and you are able to play the game as if you were always online. This feature is especially useful for people who play video games sporadically and have to pause their game occasionally so they can do other things.
It’s funny how, in this age of technology, we’re still so fond of our offline PC games. Sure, we have the option to play them online, but there’s something about playing a game on your own, in your own space, that just feels so much more special. There’s something about the simplicity of an offline game that really appeals to us. There’s no need to worry about connection issues or lag, no need to worry about other players ruining your fun. Just you, the game, and your own personal space. And for some of us, there’s just something about the old school graphics that really hits the spot. Sure, we can enjoy our games on high resolution screens, but there’s something about the classic pixelated graphics that really brings us back to a simpler time. Whatever the reason, we just love playing our offline PC games. And we think you might too!
So why not take a break from the internet and play offline pc games today? If you’re looking for a way to escape the world for a little while, why not try some of these amazing offline PC games at GameTop? You’ll never want to go online again!
Recommended Offline Games
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The 1975 have officially announced that their new album, Being Funny in a Foreign Language, will be out on October 14 via Dirty Hit. The LP was recorded at Real World Studios in Wiltshire, England and Electric Lady Studios in New York. Today marks the release of its first single, ‘Part of the Band’, which was co-produced by Jack Antonoff and comes with a video directed by Samuel Bradley. Check it out and find the album cover and full tracklist below.
The 1975 have been teasing the follow-up to 2020’s Notes on a Conditional Form for some time. Late last month, they revealed the title of the LP via postcards mailed to fans. They also shared the full lyrics for ‘Part of the Band’, and frontman Matty Healy has been sharing snippets of the track on his Instagram page. The band will make its live return this August, performing two shows as part of Japan’s Summer Sonic Festival.
Being Funny in a Foreign Language Tracklist:
Being Funny in a Foreign Language Tracklist:
1. The 1975
2. Happiness
3. Looking for Somebody (To Love)
4. Part of the Band
5. Oh Caroline
6. I’m in Love With You
7. All I Need to Hear
8. Wintering
9. Human Too
10. About You
11. When We Are Together
The xx’s Oliver Sim has shared a new song, ‘GMT’, alongside an accompanying video. It’s taken from his forthcoming debut LP Hideous Bastard, following previous offerings ‘Romance with a Memory’, ‘Fruit’, and ‘Hideous’. Check out the clip, directed by Sim’s longtime friend and collaborator Laura Jane Coulson, below.
“‘GMT’ was one of the first songs made for the record,” Sim explained in a press release. “I’d chased Jamie to Australia to escape British winter. We worked in Sydney and road tripped down to Byron Bay, stopping at secluded beaches and listening to a lot of The Beach Boys and Brian Wilson on the way. The first song we made was ‘GMT,’ sampling Brian Wilson’s ‘Smile.’ The song was written about pining over a love back home, thousands of miles apart on different time zones. It’s also a love letter to London.”
“I remember hearing the beginnings of ‘GMT’ in 2020 when Oliver was writing the record,” Coulson added. “It’s been in my head ever since. So I was beyond happy when Oliver asked to collaborate on the video for ‘GMT’ (actually my favourite song from the record). We wanted to make something simple and positive that focused on Oliver’s performance. I also wanted to capture his energy and show moments where we see a hint of his off-stage persona. We had so much fun making it.”
Hideous Bastard is out September 9 via Young.
Baltimore experimental pop outfit Tomato Flower have released ‘Blue’, a new song lifted from their forthcoming EP Construction. The band announced the collection last month by sharing the title track. Listen to ‘Blue’ below.
Construction is set for release on August 5 via the Philadelphia label Ramp Local. It follows Tomato Flower’s debut EP, Gold Arc, which arrived earlier this year. The physical release will contain the music of both EPs, with artwork by James Patrick Mayer.
Julien Baker has announced a new EP, B-Sides, which is comprised of songs recorded during the sessions for her latest album, 2021’s Little Oblivions. The three-song collection arrives digitally on July 21 via Matador, the same day The Wild Hearts Tour featuring Baker, Angel Olsen, and Sharon Van Etten kicks off. Listen to the previously unreleased track ‘Guthrie’ below, and scroll down for the EP’s cover art.
B-Sides Cover Artwork:
Waterbaby, the London sister duo composed of Martha and Jessica Kilpatrick, have shared a new single, ‘Thin Air’, their first release on untitled recs. Check it out via the accompanying visual below.
Talking about the song in a statment, Waterbaby said: “It’s a song about duality. We shapeshift from being in the driver’s seat to going along for the ride, ‘am I the pilot, or the passenger?’, and travel from day to night. We use aerial analogies and flight metaphors to describe periods of ascent and descent, and the ups and downs of life. Throughout the song you soar and crash, sometimes looking down on the world below, existing somewhere in the clouds like an angel watching earth.”
Hot Chip have dropped a new track, ‘Eleanor’, the second preview of their upcoming record Freakout/Release, following ‘Down’. Listen to it below.
“It’s about the world smashing into you, waves crashing into you, all-encompassing pain, and how you have to walk through it,” Alexis Taylor said of ‘Eleanor’ in a statement. “The verses are about separation when families are divided against their will. It’s about strong friends. It’s also about Samuel Beckett giving Andre The Giant lifts to school, and about how Beckett must have learned a lot from Andre’s wisdom.”
Freakout/Release is set to arrive on August 19 via Domino.
Rat Tally (aka Addy Harris) has shared a new song called ‘Longshot’, which will appear on her forthcoming debut LP, In My Car. Check it out below.
“This is the opening track and one of my favorites off the record,” Harris explained in a statement. “The song is a lot about anxiety and not being able to stop overthinking, so I wanted the verses to feel tense, lyrically and musically.”
She continued: “’Longshot’ and ‘In My Car’ have a wall of quadrupled power chord guitars that my producer Max Grazier recorded that just absolutely smack you in the face. When I wrote it I was really obsessively listening to Fountains of Wayne, XTC, and a lot of 90s and early 2000s hits, and I wanted it to have a big stadium rock vibe. I had this hook that I hummed in the demo and thought I would eventually write words to it, but it works so much better as just a melody riding on top of the huge guitars.”
In My Car, which features guest appearances from Jay Som and Madeline Kenney, is out August 12 via 6131 Records. It includes the previously released single ‘Spinning Wheel’.
Throughout Moor Mother (aka Camae Ayewa)’s body of work, she wrestles with the ways dominant conceptions of history and temporality facilitate cycles of oppression. Her catalogue is prolific, including six vastly distinct albums from 2020 alone. Yet each new releases operates with no pulled punches: poetic assailments against the underpinnings of white supremacist narratives. Jazz Codes, her latest album, is a spiritual sequel to last year’s Black Encyclopedia of the Air. Both albums sprout from the theoretical underpinnings of Black Quantum Futurism: a multi-disciplinary project Moor Mother formed with Rasheedah Phillips, which aims to configure a new consciousness based around principles of communal healing, Black feminist liberation, and re-imaginings of both history and temporality. Aptly-titled, Jazz Codes explores the potential of jazz to undo normative aesthetic and social principles, imagining new histories and new futures.
The album is a shift away from the enveloping darkness often attributed to Moor Mother’s catalogue. This isn’t the bleak and furious free jazz of Moor Mother’s Circuit City, wading through the oppressive waters of hyper-corporate, neoliberal housing realities. Instead, Jazz Codes’ songs are breezier than even Black Encyclopedia’s, with more jazz and R&B-influenced production and melodic choruses. The album builds towards something both expansive and immediate. Jazz Codes is Moor Mother at her most optimistic and celebratory, beaming with warmth for her contemporaries, paying tribute to her past idols, and striving towards a radical new consciousness through music and poetry.
For Moor Mother, jazz isn’t a genre unified by fixed conventions. Rather, jazz is an overarching ideal: a Black tradition where instruments push the boundaries of musical convention into free-flowing experiments grounded in collaboration. Jazz Codes begins with Moor Mother’s spoken word murmuring over a hi-hat pattern, the occasional undercurrent of looming saxophone, and the gentle pluck of Mary Lattimore’s harp. It’s a jingly opener, exploring a space between genres which often becomes the album’s home. Jazz Codes’ emotional zenith arrives early with ‘APRIL 7th’. Jazz and ambient elements meld together. Warm drones and airy glitch sounds transition into a blaze of horns and distant rumbles of percussion. “It’s the baritone, the sweet lows/ And sweet chariots coming to take us home,” Moor Mother whispers over the gentle haze of sound. Jazz Codes carves a pathway towards liberation by invoking the fluidity of jazz and reveling in its misty contradictions.
The album is packed with features, highlighting an assortment of voices and musicians into a vast assemblage of stylings. Though Moor Mother’s voice remains a consistent central narration, Jazz Codes emphasizes collective discourse. Radical unities form through artistic collaboration. Moor Mother performs as a bard, guiding us in poem through a futuristic landscape of ruptured temporality. As an MC, the songs tend to align with the energy she offers as a vocalist. The album excels with Moor Mother’s most ferocious, lively verses, like ‘BARELY WOKE’, where she spits about the overwhelming anxieties of trying to fathom a liberated future while inhabiting a suffocating police state. Consistently, Jazz Codes finds Moor Mother experimenting with her voice. On ‘BLUES AWAY’, she tasks her vocals with conveying absolute anguish. Backgrounded by Faboi Sharif’s echoing shouts, Moor Mother navigates the song in a heartbroken moan. Her voice becomes a conduit for absolute loss.
Yet at other points, Moor Mother performs with considerable restraint. On ‘SO SWEET AMINA’, she speak-sings over two separate vocal tracks. The repetitive vocals unfold without the centrality often associated with a vocal line. Rather, Moor Mother’s voice becomes another instrument in the mix, swirling amidst the saxophone and bass. Jazz Codes carefully refutes the individuality of the singular musician, casting Moor Mother’s voice as one instrument amongst a larger orchestra, turning to jazz to bulldoze the structures of late-capitalism. Jazz Codes emphasizes the importance of collective unity in the face of an increasingly fascist state. Liberation, in the end, is never an individual pursuit.
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