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Phil Elverum (of Mount Eerie and the Microphones) has announced “Music With Voice,” an online songwriting workshop that’s being presented through School of Song. It’s being taught online via Zoom across four Sundays: October 30, November 6, November 13, and November 20 at either 11 a.m. or 6 p.m. Pacific. Each session will feature a lecture and live Q&A; there will also be weekly song-sharing sessions with peer review. Enrollment costs $120, and a discount is offered to those who sign up with friends. Sign up here, and read his comments on the course below.
Midway through “Shlut,” a sultry entry from Shygirl’s full-length debut, the singer poses a simple question over skittering trap beats: “Is it so bad to just like to be touched?” Sexuality, especially female sexuality, is often seen as frivolous, fleeting, and tempestuous, something that by nature can’t be defined or qualified. Across Nymph, in both the content of the songs and the eclectic nature of their instrumentation, the artist born Blane Muise challenges that notion by giving full breadth to her fantasies and desires. What does it mean to be “bad”? What does it mean to want? With futuristic neo-club anthems like “Freak,” “Nasty,” and “Gush,” Shygirl has long worn her sexuality on her sleeve. On Nymph, her siren song lures us deeper into the forest, past the dank dancefloors of her early discography and toward somewhere brighter and more introspective.
Content This content can also be viewed on the site it originates from. “Doves” is an understated and mellow single. Mavi glides over Dylvinci’s jazzy production like a sail boat going with the current. If you were introduced to the North Carolina brain buster around the time of his 2019 project Let the Sun Talk—one of the best projects of that year even if it sometimes impenetrable—then “Doves” is a slight curveball. Mavi lets his lyrics breathe, which does them justice; he's always been a careful writer, with lines that you turn over like a dream you might be misremembering, and the change of pace is a chance to focus on his words. At one point he raps, “I don’t think I’ll ever fall in love again, I’m cool,” sounding like he wants to shrug off the thought but can’t. He’s taking his time and there’s so much confidence in that.
Two months off the release of Renaissance, Beyoncé has shared a clip featuring “Summer Renaissance.” The Mark Romanek–directed visual is described as a “brand campaign anthem film” for Tiffany & Co.’s “Lose Yourself in Love” campaign. Watch below. Beyoncé initially “decided...
Kendrick Lamar was the musical guest on the October 1 episode of Saturday Night Live. Lamar joined the Miles Teller-hosted show to perform “Rich Spirit,” “N95,” and “Father Time” from his latest album Mr. Morale & The Big Steppers. For “Father Time,” Lamar brought out Sampha, who appears on the studio version of the song. Watch it all go down below.
Carly Rae Jepsen is back with a new song: “The Loneliest Time” is a collaboration with Rufus Wainwright and the latest single from Jepsen’s upcoming album of the same name. The song was produced by Kyle Shearer, who worked with Jepsen on the Dedicated song “Julien,” and was co-written by Jepsen, Shearer, and Nate Cyphert. Listen below.
Tyler, the Creator will voice a character in the next season of Netflix’s Big Mouth, with Adam Levine, Amber Ruffin, Jeff Goldblum, and Peter Capaldi appearing elsewhere in the series’ new episodes. The sixth season of Big Mouth arrives on the streaming platform on October 28. Watch a trailer for the latest set of hormone-fueled escapades below.
Pavement are currently in the midst of their North American reunion tour, and last night (October 5) in Philadelphia, the band was joined by Kurt Vile to perform the 1992 song “Zurich Is Stained.” Vile took Stephen Malkmus’ place on vocals, with Malkmus stepping back to perform the song on guitar. Video of the occasion was captured by Dylan Baldi of Cloud Nothings and later posted on Instagram. Check it out below.
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A new Ryuichi Sakamoto tribute album called To the Moon and Back is set to drop December 2 via Milan Records, featuring a reworked version of his song “Thousand Knives” by Thundercat. The album also includes new versions of Sakamoto’s songs from Devonté Hynes, the Cinematic Orchestra, Alva Noto, David Sylvian, and more. Check out the full tracklist and Thundercat’s “Thousand Knives” below.
Yeah Yeah Yeahs’ new album Cool It Down is out now, and, to mark the occasion, the band brought music from the LP to Jimmy Kimmel Live! Karen O, Nick Zinner, and Brian Chase performed the single “Burning.” Watch below. Cool It Down is the band’s fifth...
Special Interest, the no-wave punk band from New Orleans, have shared another new song from their forthcoming album Endure. This one’s called “Foul.” Give it a listen below. “This call and response tune is a working class anthem,” Special Interest’s Maria Elena said in a statement. “Alli...
Stephin Merritt’s early life makes for a great country song that no one would ever think to write. Born in 1965, he has claimed that he was “conceived by barefoot hippies on a houseboat in St. Thomas.” He likes to say that he and his single mother lived in 33 homes during his first 23 years, mainly in the northeastern United States. She was an English teacher and Buddhist seeker, drawn toward communes and homeopathic remedies. They were “sometimes very poor.” He grew up not knowing his father, an obscure folk-rock singer from the Virgin Islands. Even Merritt’s first name was in flux: He changed the spelling as a teenager, inspired by something he saw on television about junk mail and indulged by the progressive prep school he wound up attending in Cambridge, Massachusetts.
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Why has no one thought to better organize the institution of power pop? Ever since Big Star chimed in with their #1 Record, bands of all stripes—the pop group with a shreddy guitarist, the pivoting mid-career punks, the shoegaze band going sober—have gathered loosely under this jubilant banner to pay tribute to broken hearts through hooks and harmonies. At some point, an intrepid fan could have borrowed from the various committees that oversee ska and emo and split power pop into waves, or at the very least adopted a post- or a nü- prefix along the way to divide a genre that’s collected bands since the Nixon era, from the Raspberries to the Go-Gos to Superchunk to the New Pornographers.
Content This content can also be viewed on the site it originates from. Baby Osama’s fluttering, pitched-up croons are soothing even if her lyrics are extremely melancholic. According to her SoundCloud page, she is based in Manhattan, and has been uploading short, melodic tunes for a while now. “RX Baby” is one of several songs she has dropped in the last week, and it’s addictive. She warbles about death and drugs—“I don’t wanna be dead, I just wanna feel alive”—but the song has a hopeful edge to it. Maybe it’s because the beat is so dreamy or her voice is so sweet. Whatever the cause, it’s hypnotic.
Hot Hot Heat will reissue their breakthrough album, 2002’s Make Up the Breakdown, on December 2 via Sub Pop. The remastered record will be appended with “Apt. 101” and “Move On,” which previously available as UK B-sides to “Bandages.”. Make Up the Breakdown was...
It’s easiest to connect with Mamalarky at odd angles. The songs on the indie quartet’s 2020 self-titled album married structured choruses with brash, jangly interludes. This approach made for a few inspired peaks (the cheeky psychedelia of “You Make Me Smile”) but also tended to fall back on tired formulas and melodies that didn’t quite stick. In these less distinctive moments, Mamalarky felt like a band still very much in the process of figuring itself out. Their new album, Pocket Fantasy, smartly doubles down on the proggy quirks and little incoherences that make them such a unique force while still maintaining the effortless charm of their previous music.
Whether she’s dumping huge bottles of ketchup into a bowl to make her unique take on gazpacho, hollowing out carrots so she can put candies inside of them, or transcribing the audiobook of Don Quixote to write her own version of the epic novel, Ana Fabrega’s Los Espookys oddball Tati just might be the most lovably chaotic character on TV right now. Alongside co-creator Julio Torres, the 31-year-old stars as a member of the series’ namesake group of horror aficionados, who run a business staging DIY supernatural experiences. Her character is akin to Betty White’s Rose Nylund from The Golden Girls: the kind-hearted glue who holds the gang together, even if she’s a little slow on the uptake. Following one of the most delightful debut seasons in recent memory, Los Espookys recently returned for season two, and it remains as endearing and strange as ever.
In an interview in 2019, Bladee unveiled a key moment in his mythos: the time he was struck by lightning during a visit to Thailand. He was far away from his home in Sweden and felt he couldn’t go to the hospital, so he just decided to sleep it off. “I was sure I was gonna die, but I didn’t,” he remembered. “I felt like an angel or something.” It wasn’t the first time the young artist and Drain Gang co-founder—born Benjamin Reichwald—had taken a moment of negativity or trauma and turned it into an existential revelation.
Richard Dawson has announced a new album: The Ruby Cord is out November 18 via Domino subsidiary Weird World. The album is billed as the final installment in a trilogy that began with Dawson’s 2017 album Peasant and its 2019 follow-up, which is titled 2020. Ahead of the full release, the English songwriter has shared a trailer for a film set to the opening track, a 41-minute song called “The Hermit.” The full film will screen in some UK cinemas later this year.
If Indigo Sparke’s 2021 debut, Echo, felt like a whisper in your ear, her follow-up feels like a howl from a mountaintop. On Hysteria, the Australian folk singer-songwriter opens up her world, a change that’s also reflected in personnel. Where Echo, with its goosebump vocals and fingers brushing guitar strings, was produced with Big Thief’s Adrianne Lenker, Hysteria is the result of a collaboration with Aaron Dessner, the National multi-instrumentalist who has also worked with Taylor Swift. With support from Dessner, Sparke sings defiantly over full-bodied instrumentation. But the newfound spaciousness isn’t only expressed in the music: her songwriting, too, stretches further, running as far as the eye can see.