SOPHIE was planning on feeding her fans last week with a livestream called “HEAV3N,” a 20-minute set of brand new music to be broadcast on Twitch with proceeds going to charity for black and queer femmes. However, Twitch banned the stream at the last minute, proving that you should never trust anything associated with Amazon to deliver a good time. Luckily, SOPHIE has shared the entire thing on YouTube, renaming the set “HEAVEN SUSPENDED.” The show features vocals from SHYGIRL and Cecile Believe, and visuals by Pieterjan Ruysch. Watch above.
Sheriff’s officials have said former Glee actor Naya Rivera is feared to have drowned after going missing at a lake in southern California on Wednesday.
A search operation at Lake Piru was suspended overnight and is due to resume on Thursday as officials search for the 33-year-old actor. Local news reports suggest she and her four-year-old son had rented a smallpontoon boat. The boy was found alone on the boat in a lifejacket alongside Rivera’s purse containing her identification. The boy reportedly told investigators that his mother was swimming and could not make it back to the boat.
At a press conference, Eric Buschow, a spokesman for the Ventura County sheriff’s department, said there was “no evidence of foul play at this point” and “this may well be a case of drowning.”
Rivera is best known for playing Santana Powell, a cheerleader, in musical comedy Glee, which aired from 2009 until 2015. In recent years she has appeared in TV show Step Up: High Water and Devious Maids.
In June country music trio Lady Antebellum announced that they would be changing their name in a bid to distance themselves from the racist connotations of their original moniker. However, the new name they chose for themselves, Lady A, was already in use by Seattle-based Black blues singer Anita White. She has performed as Lady A for over two decades and originally oposed the group’s plans before claiming that they were “moving forward with positive solutions and common ground.”
The moment of togetherness was short-lived, however. On Wednesday, July 8, the band Lady A filed a lawsuit against the singer they now share a name with. They are asking a Nashville court to allow them the right to the trademark of the name. The lawsuit states that Lady A the singer can remain using the same name but that they wish to secure the trademark after White demanded $10 million from the band.
“Today we are sad to share that our sincere hope to join together with Anita White in unity and common purpose has ended,” the group said in a statement. “She and her team have demanded a $10 million payment, so reluctantly we have come to the conclusion that we need to ask a court to affirm our right to continue to use the name Lady A, a trademark we have held for many years.”
The band, Hillary Scott, Charles Kelley and Dave Haywood, state in the lawsuit that they faced no opposition, including from White, when they registered “Lady A” as a trademark in 2010.
“We are sad to share that our sincere hope to join together with Anita White in unity and common purpose has ended,” the group added in their statement. “We can do so much more together than in this dispute.”
When the band first announced their new name White told Newsday she felt “the group’s camp is trying to erase me”. In a separate interview with Rolling Stone she added: “They’re using the name because of a Black Lives Matter incident that, for them, is just a moment in time. If it mattered, it would have mattered to them before. It shouldn’t have taken George Floyd to die for them to realize that their name had a slave reference to it.”
White has not commented directly about the lawsuit. The FADER has reached out for comment.
YEAR0001, the Swedish record label and management company best known as the home of Yung Lean, Bladee, and Ecco2k, has shared a compilation of new music called RIFT One. The 22-track collection contains new music from Lean (under his alias jonatan leandoer96), Bladee, and Thaiboy Digital. The project sticks mostly to thunderous trance, with the occasional diversion to rap, dubstep, and more.
All proceeds from streams and purchases of the album will be donated to “community bail funds, mutual aid funds, and racial justice organizers,” according to a press release. “YEAR0001 hopes to make a small contribution towards awareness and change, and encourage the community to act against injustice and stand together in solidarity.” Profits from future RIFT releases will also be donated to charity.
FKA twigs is the subject of a new short film We Are The Womxn, directed by Ivar Wigan and produced by WeTransfer. Watch above via Dummy.
The clip was shot in late 2019 around twigs’s performance at AfroPunk in Atlanta, where twigs performed a moon dance with a spiritual healer named Queen Afua. “This essential piece is about resurrecting the womxn,” Afua says, “because if you elevate the womxn, you elevate the family, and then we can all transform and birth a new world.”
The pair take their message of empowerment through movement from the AfroPunk grounds to Blue Flame, a Black Atlanta strip club, where twigs takes the stage. In an interview with WeTransfer, twigs said: “My experience at the Blue Flame solidified that, although historically women are often pitched against each other for their looks or their assets by the patriarchy, when left to our own devices we are incredibly nurturing and healing for each other.”
Magdalene, the latest album from FKA twigs, was released in 2019.
The lead-up to Juice WRLD‘s posthumous album Legends Never Die continues with the album’s fourth single “Come & Go,” a collaboration with EDM producer Marshmello. Check it out above.
“Come & Go” is an attempt to make good on Juice WRLD’s promise of global pop stardom, tragically unfulfilled by his death at age 21 of an accidental drug overdose — the song is an intensely buffed and labored-over version of the pop punk-infused rap Juice WRLD built his considerable fan base off of.
Florida artist Dominic Fike shared the video for his latest single “Politics & Violence” on Thursday, the follow-up to his track “Chicken Tenders” from just last month. The Reed Bennett-directed clip sees the track’s lyrics and other footage projected onto a dazzling landscape.
In addition to the video, the singer also announced the release of his debut album, What Could Possibly Go Wrong, set to drop on July 31. In an Instagram post from early June, the singer says he delayed his release plans in light of the protests against anti-Black racism and police brutality that have continued to spread across America, detailing his own experiences at the hands of the police.
In the summer of 2018, FOREVATIRED, a boy band formed in Nigeria’s capital city, Abuja, released their demo titled, AT THE END OF SUMMER. The project was a perfect introduction to the three-member act’s fresh take on hip-hop, joining playful sounds that one may not expect when pressing play. Since that introduction, the group relocated to Lagos, released another demo in 2019 (BEFORE YOU KILL US ALL) and a few singles to hold fans over.
Last week, they dropped their newest single with “Devil Fruit,” which sounds like what may happen if Pi’erre Bourne took a trip to West Africa. The video is premiering today on The FADER and it features group members chilling at home smoking a few spliffs before heading out into a psychedelic landscape. The song will be featured on the group’s forthcoming official debut mixtape THOSE KIDS NEXT DOOR, which is due out next week. In a press release, FOREVATIRED says that the tape chronicles the different emotions they’ve had and realizations they’ve come to while in quarantine. Watch the video above.
Kanye West may have just lost one of the biggest supporters in his quest for the Presidency. Tesla founder Elon Musk, who previously tweeted his “full support” of the rapper, is now rethinking his position following West’s interview with Forbes where he revealed, among other things, a desire to run the White House like Wakanda.
“We may have more differences of opinion than I anticipated,” Musk said in a since-deleted tweet when asked about his continued support of West. In the same interview, West referred to Musk as one of two trusted advisors alongside his wife Kim, and shared plans to put him in charge of NASA if he won.
West also referred to his possible future policies as “designs,” says Planned Parenthood “[does] the Devil’s work,” admitted he needed to do more research before having any tax policy, and shared that he had COVID-19 back in February but is distrustful of potential vaccines. “I’m extremely cautious. That’s the mark of the beast. They want to put chips inside of us,” he explained.
The LAPD tweeted that “three adult males and two juvenile males” have been arrested; specific charges have not yet been revealed. Representatives for Pop Smoke declined to comment when reached by The FADER.
If the past few months have started to feel a bit cyclical for you, Cat Clyde gets it. In fact, she wrote a whole song about it well before the pandemic hit. Today, we’re premiering the video for “Toaster,” a track off her new acoustic record Good Bones, out now via Cinematic Music Group. The self-made clip depicts Clyde going through the motions in her couch as the days pass by.
“I wrote this song during my first year of college,” Clyde wrote in an email to The FADER. “I was spending a lot of time in my apartment alone. The lyrics are very literal. I never really planned to record or release this one, but after bringing it back out, I was urged to do something with it. I’m happy to have recorded it in one take and really love how it fits into this record of simple acoustic recordings.”
As Lomelda, Texas singer-songwriter Hannah Read doesn’t need much beyond a guitar and her mighty voice to craft songs that continue to leave an impression long after they’ve finished. Following last year’s M for Empathyand joint Covers EP with Hovvdy, she’s cooked up a whole new album called Hannah that’s due out this September via Double Double Whammy. The first track, “Wonder,” evokes just what its title suggests, facing down the expanses of the unknown with wide-eyed determination.
“‘Wonder’ is about working hard,” Read wrote in a press release. “It is my most fun song to play. And I got to play drums on it, so it’s my favorite Lomelda song forever. May it motivate you to move and smash like it does me.” Watch its whimsical, Regina Gonzalez-Arroyo-directed video below, and head over here to pre-order Hannah.
London rapper Ashnikko broke out on TikTok with “Stupid,” a rap song with a metal heart and big, muscular bars about rejecting fuckboys. She delivered on the promise of that song with “Cry,” a Grimes-featuring single that displayed convincingly fraught vocals in the vein of Linkin Park. “Daisy,” Ashnikko’s latest single, combines both of those worlds with a punchy, EDM chorus. Check it out above.
Ashnikko described the theme and protagonist of the song in a press statement:
“This song is for the brats (brattiness being a recurring theme in my music). It’s about this absolute boss dominatrix vigilante character of mine. She rids the world of rapists and throat punches the patriarchy, leaving daisies behind as a calling card of sorts. She’s sexy as fuck, wears only platforms, latex, and blue diamonds.”
If Charlie Puth is capable of making a bad song, I have yet to hear it. Earlier this summer he dropped “Girlfriend,” a finely-tuned pop track produced with longtime collaborator J Kash and marked with one of his most tenacious hooks to date. Today, he’s following it up with an equally charming video. The Drew Kirsch-directed clip takes us inside the Puth residence as he “cooks” up a feast for his dinner date.
“I’ve never released a music video that wholeheartedly showed my personality. The video for ‘Girlfriend’ is the first time I’ve truly been myself in every aspect. I can’t cook and I’m an absolute nerd,” Puth wrote in a press release, cryptically adding on Twitter “Yes that is what the song is about. I mean isn’t it obvious lol.” Check it out above and then head over here to watch him recount his favorite nineties songs during his last visit to the FADER office.
Lana Del Rey’s “eclectic and honest” new album is out this month Violet Bent Backwards Over The Grass will be released as a 14-track poetry audiobook on July 28th, featuring recitations of Lana Del Rey’s poetry set to music by Jack Antonoff.
Information about Lana Del Rey’s new book of poetry, as well as its accompanying Jack Antonoff-produced audiobook, has been detailed in product listings on Amazon and Waterstones sighted by The FADER. Violet Bent Backwards Over The Grass will be released in a 112-page hardcover format on September 29, while the audiobook version, previously described as a “spoken word album” by Del Rey, will run 33 minutes and be released on July 28. In the audiobook, 14 poems from the collection will be set to music by Antonoff. Violet Bent Backwards Over the Grass is also the name of a poem in the book, and is “the first poem [Del Rey] wrote of many.”
“Some [poems] came to me in their entirety, which I dictated and then typed out, and some that I worked laboriously picking apart each word to make the perfect poem,” Del Rey writes in a statement, ”They are eclectic and honest and not trying to be anything other than what they are and for that reason I’m proud of them, especially because the spirit in which they were written was very authentic.” Per the listings, Violet Bent Backwards Over The Grass includes poems titled “The Land of 1,000 Fires”, “LA Who Am I to Love You?”, “Tessa DiPietro”, and more. Unlike previously stated, the book will cost more than one dollar. View the Waterstones listing here and the Amazon CA listing here.
Violet Bent Backwards Over The Grass was originally set for release on January 4; in her initial announcement, she described the record as “gritty.” At time of its initial announcement, Del Rey stated that half the proceeds from the record would go towards Native American charities as a “reparative act;” an Instagram post from earlier this evening seems to indicate that is still the case, with Del Rey writing that she will be attempting to raise $1,035,000 for the Navajo Water Project over the coming month.
Tame Impala’s Kevin Parker has released a live acoustic performance of “On Track,” a highlight of his excellent new album The Slow Rush. First recorded for the Music From The Homefront concert in April, the performance finds Parker in an unusually minimal mode, performing alone with an acoustic guitar from his home in Perth, Australia. Watch Parker’s performance of “On Track” above.
The Slow Rush was released in February, and features singles “It Might Be Time,” “Lost In Yesterday,” “Posthumous Forgiveness,” and “Borderline. Tame Impala was supposed to headline Governors Ball in support of the record, a plan that was cancelled due to the COVID-19 pandemic. Read our interview with Parker about the album, Travis Scott’s influence, and more, here.
Speaking with the magazine for over four hours via phone from his Wyoming ranch, West stated that he’s running for president in 2020 under a new banner—the Birthday Party—with guidance from Elon Musk and Wyoming preacher Michelle Tidball as his vice presidential candidate. The rapper also revealed anti-vaccer and pro-life opinions as well as suggesting Marvel’s Black Panther is the model of how government should be run. “Like anything I’ve ever done in my life,” West said of his plans, “I’m doing to win.”
West has repeatedly discussed running for president and returned to the idea earlier this month shortly after dropping new song “Wash Us In The Blood” and confirming work on a new album. Speaking to Forbes, West said he would run as a Republican candidate if Trump were not in place and that he has little concern about potentially taking votes from Democratic candidate Joe Biden.
“I’m not saying Trump’s in my way, he may be a part of my way,” West told the magazine. “And Joe Biden? Like come on man, please. You know? Obama’s special. Trump’s special. We say Kanye West is special. America needs special people that lead. Bill Clinton? Special. Joe Biden’s not special.”
West remained vague on many of areas of policy, stating that he prefers to think of things as “designs.” However, there is a role for Elon Musk in the White House: “I proposed to him to be the head of our space program,” West said of the billionaire Tesla founder.
Speaking from home, West revealed that he contracted coronavirus in February (“Chills, shaking in the bed, taking hot showers, looking at videos telling me what I’m supposed to do to get over it”) but that he remains wary of any potential vaccine.
“It’s so many of our children that are being vaccinated and paralyze,” he’s quoted as saying. “So when they say the way we’re going to fix Covid is with a vaccine, I’m extremely cautious. That’s the mark of the beast. They want to put chips inside of us, they want to do all kinds of things, to make it where we can’t cross the gates of heaven.”
Elsewhere West was critical of Planned Parenthood, who he said “have been placed inside cities by white supremacists to do the Devil’s work,” and claimed that Jared Kushner once asked him why “we don’t have Black leaders, we just have hustlers.”
Though vague on taxes and foreign policy, West said the fictional country of Wakanda, as depicted in Black Panther, was how he wants to run America. “I’m gonna use the framework of Wakanda right now because it’s the best explanation of what our design group is going to feel like in the White House… Let’s get back to Wakanda… like in the movie in Wakanda when the king went to visit that lead scientist to have the shoes wrap around her shoes. Just the amount of innovation that can happen, the amount of innovation in medicine—like big pharma—we are going to work, innovate, together. This is not going to be some Nipsey Hussle being murdered, they’re doing a documentary, we have so many soldiers that die for our freedom, our freedom of information, that there is a cure for AIDS out there, there is going to be a mix of big pharma and holistic.”
Pasar de las Luces, Tijuana-born band Mint Field‘s 2018 debut, was awash with dissociative guitars and blissful psychedelia. But its most rapturous moments were driven home by unexpected changes of pace, tighter tracks like “Ciudad Satélite” and “Quiero Otoño De Nuevo” making their liquid shoegaze seem boundless. Their second full-length, Sentimiento Mundial, is out September 25 on Felte, and the same rules apply this time around — when Estrella del Sol Sánchez wants to drift away, she can create walls of noise that only Kevin Shields could think of building. But when they need to snap to attention, bassist Sebastian Neyra and new drummer Callum Brown can pull the strings taught. The second single from the record, “Contengencia,” premiering at the top of the page, is one of those tenser moments, a dive into krautrock that leaves plenty of space for del Sol Sànchez to reach into her delicate upper range.
“‘Contingencia’ is one of the most energetic tracks from our upcoming album,,” del Sol Sánchez wrote in an email to The FADER. “A track about those times when we feel like we don’t have any other choice or way of doing things, and that sometimes we need to see the light that is in front of us. I really love this part that said, ‘No puedes vivir ciega de lo que puedes ver’ [‘You can’t live blind to what you can see’).”
SahBabii broke out of Atlanta in 2017 with his mixtape S.A.N.D.A.S. and its hit single “Pull Up Wit Ah Stick,” both high-water marks in the city’s post-Young Thug output. SahBabii’s polished-crystal flow and ear for pristine beats gave his music the vibe of a decadent party at a desert oasis, but this distinction didn’t translate to an increased profile in the rap game. Perhaps that will change starting today, with the release SahBabii’s new album Barnacles.
The 16-track release includes the lead single “Double Dick,” as well as “Tongue Demon,” which dropped today with a music video. SahBabii heads to a house party with a few demons and a lot of swirling psychedelic effects. Check it out below, followed by a Spotify stream of Barnacles.
Roddy Ricch made his debut on the home edition of NPR’s Tiny Desk concert series on Wednesday. Filmed at West Coast Customs (of Pimp My Ride fame), the set was as intimate as you might expect from a Tiny Desk set, if not more so, thanks to the audience-free setup.
Backed by a live band, Roddy Ricch started the set off with “Perfect Time” before being joined by Ty Dolla $ign, who performed “Bacc Seat” alongside him. After performing “High Fashion,” Roddy went on to close out the nearly 15-minute set by talking about the state of the world before finishing up with “War Baby.” “It’s dangerous,” he said before launching in the track, “I send prayers out to everybody, all their families. I need y’all to say safe.” Watch the performance above.
Thumbnail image via Roger Kisby/Getty Images for BET.
These days life can feel like a runaway train, and Gerard Way, frontman of the recently reunited My Chemical Romance, has delivered a light at the end of the tunnel in the form of a new solo song called “Here Comes The End.” The glam-rock track, which features Judith Hill on co-vocalist duty, doesn’t present a wholly optimistic or pessimistic view of things — maybe that light in the tunnel is daylight, or a cliff — and that’s why it works. Listen above.
“Here Comes The End” was written for season two of Way’s Netflix superhero show The Umbrella Academy. Way said he began writing the song before the string of crises that have come to define 2020. “I was originally inspired to write this track when series one of Umbrella Academy was being shot. By the time I finished it 2020 was in full swing, the world had taken a profound turn and the song was finished in a surreal new reality.”
The return of Black Star, Talib Kweli and Yasiin Bey‘s rap duo, is being blocked by “interlopers and culture vultures” who are stopping them from working with producer Madlib, according to a statement Kweli posted on Instagram on Tuesday. “I wash my hands of it at this point,” the rapper said in a tweet that he went on to share in a screenshot on Instagram.
As recently as last month, Talib has indicated that the album is near completion. “Me and Mos Def are in the final stages of the Black Star album,” he revealed to Jimmy Fallon on The Tonight Show back on June 3. “It’s produced completely by Madlib.” Black Star’s first and only album Mos Def & Talib Kweli Are Black Star was released in 1998.
Now, Kweli says that unnamed “greedy people” are barring the project’s release. “I’m tired of being silent about this,” he said in his Instagram caption, revealing that it’s been finished for over a year.. “I want to see this come out as bad as y’all do, or more. But people who never made a beat, never wrote a rhyme in they life got they fingers in the pie and are being disrespectful to what me and my brothers built.”
Kweli went on to say that he’s moving on from the project, but hopes fans will get to hear it at some point, even if it’s in the distant future. “It’s in Gods hands now… Maybe y’all will get to hear this album after I’m gone,” he added.
The FADER has reached out to Talib Kweli for comment.
James Blake by SUZANNE CORDEIRO/AFP via Getty Images
On Wednesday, English singer-songwriter-producer James Blake shared a new song called “Are You Even Real.” Listen below via Spotify. The swooning and ornate ballad, ready for any left-of-center wedding playlist, was co-written by Starrah and Ali Tamposi. “Are You Even Real” is Blake’s second new song in 2020, coming on the heels of “You’re Too Precious.”
In January 2017, the cult-adored Boston-based trio Krill explained in a Facebook post why they’d broken up two years prior. “The indie rock world skews upper-middle class, male, and white,” they wrote. “It can feel political and leftist and radical, but it often fails to spur real action. People sell engagement in this community as inherently countercultural, oppositional, and antagonistic to power. It’s not.”
Rather than continuing to participate in that scene, they’d decided to take direct action. Bassist and singer Jonah Furman had gone to work in the labor movement, eventually landing as the National Labor Organizer for Bernie Sanders’ presidential campaign. Drummer Ian Becker had moved to Texas to take a job in public housing. Guitarist Aaron Ratoff had gone to study civil rights law.
“A lot of people who liked Krill[…] liked it because it was implicitly radical — emotionally, aesthetically,” they wrote. “Well, now is a really good time to start being explicitly radical.”
Three years later, after handful of false starts, Furman, Becker, and Ratoff have reunited, brought in an extra member, and recorded a new LP under the name Knot. The four-piece’s self-titled debut is due out August 28 via Exploding in Sound, and lead single “Foam” is premiering below. It’s immediately clear from “Foam” that a few things have changed since the Krill days — Furman has switched to guitar alongside newcomer (and fellow labor activist) Joe DeManuelle-Hall, and the songs sound cleaner, tenser, more nervy.
But that same radical impulse — the one that had hardcore fans dissecting the existential questions at the root of Krill’s albums, the one that the one that meant thousands of them probably really were interested in being “explicitly radical” — remains. On Knot, as the songs clatter and stagger forwards, Furman sings about justice and collective destiny with the resolve of someone who’s not only thought about such concepts, but tried to realize them. Where Krill concerned themselves with ethics and morality, with Furman howling his unanswerable questions in warbled couplets, Knot are more politically frustrated. “Was my father right when he said, ‘Maybe we are all just evil motherfuckers’?” Furman sings on “Foam.” “I believe in people’s power, but not at this late hour, personally.”
On the phone from a beach about an hour south of Boston, Furman explained what brought the band back together, the “more mature” approach to music that comes with paying part-time, and what he hopes to achieve with these more politically minded songs.
The FADER: Was there anything specific that prompted your decision to dissolve Krill?
Jonah Furman: We were all politically conscious people. That’s why we did the band. I think we all felt that it was time to do something a little more — I don’t know, it’s hard to find the right term that’s not too harsh — socially useful or oriented to some kind of justice. Being in the rock band, it’s not bad, I’m not sure how it helps anything. Every time I try to speak about it, it sounds like I’m being too harsh on it. I don’t mean to be harsh on it. I think we definitely all felt like it was time to contribute to a world we wanted to see.
When you first started the band, did you hope or expect that you would be able to make a difference while pursuing art? Was it just it eroded on you after a while that you couldn’t?
Obviously you tell a story and make sense of the choices you made. When I was younger, I was more open to the idea that making art is an important way to improve the world through creating something beautiful and meaningful. That was a worthy pursuit in itself. When I was 20, I thought that making art was an important part of making a better world. I don’t know that I think that — or at least not in a world that’s as fucked up as ours is. I think there’s more important things to be doing. Also, you get it out of your system.
People talk about expressing yourself. At a certain point, you’ve said what you wanted to say. There’s not much more to say. You need to have a little bit more life experience.
So, did the band start again because you felt you had something new to say?
It didn’t start like that. This new band has a new member, Joe, who I met after Krill ended. We started playing a little bit together. It was just very casual. Then Aaron and Joe and I were playing a little bit together. For me, being the chief songwriter, I wasn’t writing songs in the meantime very much. I write when there’s a band to play with. It wasn’t super intentional to reform. [We were] just getting together when we could get together. I think everyone was quite reluctant to say this is a new band, these are songs, this is a project. We’ve been very slow with all of it.
Why do you think people were reluctant?
With Krill, we had other jobs, but it was like this is what we do. We are in this band. All of our output is supposed to be coherent and thoughtful. Our goal is to tour more, to put out more records. It wasn’t clear to me what it would be like to be in a band where that wasn’t the case — something that’s not the main thing of your life.
I think that’s a more normal of a way of making music and making art. It’s a much more mature way of doing it, I think, where you’re like art is the stuff you make alongside the life you live, as opposed to [putting] your whole identity in your output.
Was that quite liberating, just being able to write without having that pressure of having to put your entire life into a song?
In a way. I find it a lot more confusing. During Krill, I feel like I could write a whole narrative of the band and the albums and what this project was about and how it fit into other art and. [Knot] much more feels like a byproduct of other things. Maybe it’s liberating in a way, but it’s also a little bit more confusing for me how it’s supposed to operate.
If you could put it in a paragraph, what was that narrative of Krill?
It was very much about ethics and morality. One’s moral responsibilities to oneself and to other people and trying to be in conversation with other ethical art or moral art. I think it was a lot about duty and a lot about responsibility. I think about what I was reading in that time in my life when I wrote a lot of those songs. I used to re-read Crime and Punishment all the time and think about really heavy ideas about individual responsibility and relationships to the people you love, what you owe people, what you owe yourself.
With that in mind, two songs on this record really stand out to me: “Justice” and “Foam.” The whole album is concerned with the questions you raise there, but those tw in particular sound like they’re in dialogue.
Maybe opposite veins, yeah, but definitely in conversation. If you think of other Krill songs like “Infinite Power,” that was all about the same question: Do I have a lot of power in the world? Am I an amazing empowered person, or am I a weak, insignificant nothing?
I think the same questions are on this album, but it’s much more about people as a collective and not as an individual. Obviously, it’s all written through the individual. It has to be. I think part of what this album is trying to do is explore different modes of political and collective feelings.
“Justice” is a lot about the value of absolute ideals of justice and power and how it’s good to have collective power and it’s good to have collective justice. “Foam” is really about, in an oblique way, global warming — the idea that we’re all fucked, the collective feeling that we don’t have enough power and we’re not going to do what’s needed to save the world.
Do you think your time away from music, working for Bernie Sanders, working in the labor movement — changed your stance? Did it make you more hopeful?
For me, the political work I do is not really about whether I think there’s a chance or not a chance or hope or not hope. It’s that there’s a problem posed by the fact of being a member of a collective, the fact of you’re born into certain political situations.
It’s the same with Krill. Again, I don’t mean to keep taking it back, but you got me thinking about this now. What I hope to do, or I think what I’m trying to do with music is explore the different modes that are available. Some days you wake up and you feel hopeful about political prospects, or you feel like a good person individually, or you feel happy, or you feel despondent either individually or collectively or politically. Mostly, I don’t think the music stuff is a good venue for political action. My hope is not to inspire anyone to feel a certain way but to give voice to the tensions of thinking politically in the same way that Krill was trying to give weight to the tensions of thinking morally or ethically.
I don’t find myself motivated by hope or aspiration as much as I find myself motivated by waking up in a world of suffering and a world of injustice. You don’t have a choice but to respond to it.
All summer long, the chiptune maximalists in Anamanaguchi are releasing a string of one-off singles, a bit of consolation for anyone who was expecting to catch them on tour over the next few months. Today, they’re offering the second, a massive barnstormer called “Kei.” The track splices POCHI’s vocals, initially recorded during a Tokyo writing session back in 2015, with a completely retooled melody. The effect is something entrancing and addictive.
“Kei” follows Anamanaguchi’s last summer single, “Styla,” which dropped at the end of June. They’ve set up a whole website for the series, which teases that six more tracks are coming over the next few weeks. Check it out and sign their guestbook over here, and watch the video for “Kei” above.
Mariah Carey has announced that she’s finished work on her memoir. “It took me a lifetime to have the courage and the clarity to write,” she wrote in a note posted to her Instagram. “I want to tell the story of the moments – the ups and downs, the triumphs and traumas, the debacles and the dreams that contributed to the person I am today. The book, which was formally announced last year, on Bravo head honcho Andy Cohen’s self-titled imprint under Henry Holt and Company.
This isn’t Mimi’s first foray into literature — back in 2015, she penned a children’s book based around her seminal holiday classic “All I Want For Christmas Is You.” Based on her note alone, the memoir sounds a bit more juicy and substantive. “I let the abandoned and ambitious adolescent have her say, and the betrayed and triumphant woman I became tell her side,” she writes. The memoir is scheduled to be published later this year. If there’s nothing else to look forward to in this festering world, at the very least we have this.
The first trailer has dropped for We Are Who We Are, the new TV show from cult Italian director Luca Guadagnino, director of Call Me By Your Name, Suspiria, and A Bigger Splash. Set to premiere later this year on HBO, We Are Who We Are features Kid Cudi and Chloë Sevigny, as well as Jack Dylan Grazer, Alice Braga, Jordan Kristine Seamón, and more. Neither Cudi nor Sevigny appears in the trailer; instead, it focusses on the show’s leads, Grazer and Seamón, the latter of whom plays Cudi’s daughter. Watch the trailer for We Are Who We Are above.
The Cudi-Guadagnino connection runs deep(-ish); Timothée Chalamet, the breakout star of Call Me By Your Name, attended Cudi’s birthday party last January with Kanye West and Pete Davidson, before performing the intro to Cudi’s Man On The Moon with him at last year’s ComplexCon. Cudi is, notoriously, Chalamet’s favorite artist.
Tiga and Hudson Mohawke have shared new collaboration “Love Minus Zero.” Check out the track above. A press release confirms that the duo will release a new song monthly throughout the remainder of 2020.
“I like the idea of bizarre-semi random things getting thrown together,” Tiga is quoted as saying of the duo’s recording sessions in Los Angeles and London. “That’s already part of how me and HudMo work. I bring things and he brings things, and those things normally not might mix. There’s an odd-couple aspect about us, but that’s the best part of it.”
Tiga and Hudson Mohawke first worked together on Tiga’s 2016 album No Fantasy Required. In 2019 Hudson Mohawke revived another collaborative project, TNGHT, for a new EP. In addition to producing music, Tiga also hosts the First/Last Party On Earth podcast in which he chats with fellow DJs about their life through music.
Halle Berry arrives for the Los Angeles special screening of John Wick: Chapter 3 – Parabellum at the TCL Chinese theatre on May 15, 2019 in Hollywood.
ROBYN BECK/AFP via Getty
Halle Berry has issued an apology after being accused of misgendering a transgender man when discussing her desire to portray them in an upcoming movie role.
The Oscar-winning actress issued a statement via Twitter in which she distanced herself from the unknown movie project and vowed to be a better ally going forward.
“Over the weekend I had the opportunity to discuss my consideration of an upcoming role as a transgender man and I’d like to apologise for those remarks,” Berry’s statement reads. “As a cisgender woman, I now understand that I should not have considered this role and that the transgender community should undeniably have the opportunity to tell their own stories. I am grateful for the guidance and critical conversation over the past few days and I will continue to listen, educate and learn from this mistake.
“I vow to be an ally in using my voice to promote better representation on-screen, both in front of and behind the camera.”
The statement followed a July 3 interview on Instagram with hair stylist Christin Brown, during which Berry discussed a trans man role she was planning to take on in an un-named film.
Berry talked about playing “a character where the woman is a trans character, so she’s a woman that transitioned into a man. She’s a character in a project I love that I might be doing … Who this woman was is so interesting to me, and that will probably be my next project that will require me cutting all of my hair off. I want to experience that world, understand that world. I want to deep dive in that in the way I did Bruised,” she added, referring to her upcoming directorial debut in which she’ll play an MMA fighter.
Berry’s reference to the character as a “woman” and “she” sparked criticism online similar to that Scarlett Johansson faced prior to her exit from Rub & Tug, a biopic of massage parlour operator Dante “Tex” Gill, in 2018.
Experimental “post-genre” group Standing On The Corner have been one of New York City’s most consistently exciting musical groups for the past few years, thanks to their albums (2016’s self-titled release and 2017’s Red Burns), their untouchable music videos, as well as their work with artists like Solange, MIKE, and Earl Sweatshirt. 2020 saw the release of a new SOTC song “Angel” along with a music video featuring the legendary Black director Melvin Van Peebles, and today the comeback continues with a great new three-track single called “G-E-T O-U-T!! The Ghetto.”
Taken together, the songs connect the jazz of Alice Coltraine, the slave spiritual “Nobody Knows The Trouble I’ve Seen,” and Dirty Beaches’ propulsive lo-fi rock work. They’re all endlessly cool and eminently re-listenable, and you can listen to them all below. Read The FADER’s Standing On The Corner profile here, and check out their FADER Mix.