After returning from hiatus with a new single this past June, Folly & the Hunter have announced their new album. Titled Remains, the Montreal duo’s latest will arrive October 26 through Outside Music. Check out album track ” Now I Know”.
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VIDEO: “Give A Little” by Maggie Rogers
Today Maggie Rogers debuts the video for her new track “Give A Little” from her forthcoming debut album on Capitol Records. Filmed in Pacoima, CA the video was co-directed by Rogersand Alan Del Rio Ortiz and features Rachel Matthews, Camila Mendes, Myriah Rose, Firefly, Makayla Menard and Bridget Gamble.
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Artists such as Lorde, Sparks, the Moody Blues and Metallica bring changes of pace to a prog-heavy playlist with twists and turns
Here is this week’s playlist – songs picked by a reader from hundreds of stories and suggestions on last week’s callout. Thanks for taking part. Read more about how our weekly series works at the end of the piece.
When choosing this week’s topic, I neglected to take into account that period, in the early 1970s, when suburban, middle-class music fans keen to impress with their intellectual prowess listened to what is now termed prog rock. We – mostly men – would don greatcoats, grow our hair into greasy bangs and wander around with album covers under our arms in the vain hope girls would marvel at our good taste and braininess in liking Uriah Heep or Gnidrolog.
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Augusta Holmès’ compositions won awards and acclaim from admirers including Liszt and Saint-Saëns, so why is she, and so many of her female contemporaries, all but forgotten today?
Augusta Holmès was a remarkably gifted French composer, pianist and singer with a voice of extraordinary range and colour. Rossini told an audience after one of her early concerts: “Mark my words, you will hear a lot more from her. Remember that Rossini told you this.” Liszt wrote that the works by her male contemporaries were mere trifles compared to her 1870 opera Astarté.
She was a prolific composer of music conceived for large forces. She wrote her own texts and libretti, and took part in designing sets and costumes for her operas. She was well connected in Paris’s cultural circles, counting among her friends and supporters Saint-Saëns (who repeatedly proposed marriage), César Franck, Vincent d’Indy, Stéphane Mallarmé, Rodin and Renoir, who painted her three daughters.
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Matt Bellamy and Dominic Howard joined us to chat about their favourite conspiracy theories, secret side projects and what exactly Thought Contagion is
EmersonRR asks:
When will the new album come out?
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Katy Perry has expressed regret at the stereotypes peddled on her debut single. She’s not the only artist who has attempted to distance herself from badly aged material
What a difference a decade makes. “If I had to write that song again, I probably would make an edit on it,” Katy Perry recently told Glamour magazine of her 2009 breakthrough hit, I Kissed a Girl. “Lyrically, it has a couple of stereotypes in it. Your mind changes so much in 10 years, and you grow so much. What’s true for you can evolve.”
Given that I Kissed a Girl is little more than a piece of titillation – “I hope my boyfriend don’t mind it / It felt so wrong / It felt so right” – I’m not at all sure removing a couple of stereotypes from it would make much difference. And there was no mention from Perry of her contemporaneous and even more are-you-really-sure-you-want-to-go-there Ur So Gay.
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The DJ and all-round music evangelist answered your questions about taking over from Zane Lowe, confiscating phones in clubs and the lack of male feminist allies in the music industry
vanillasky99 asks:
What’s your favourite thing about being you?
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Dwyer has released 21 albums with Thee Oh Sees – and 20 other records that range from German industrial electronics to heavy metal. He gives the backstories about key tracks in his vast back catalogue
‘My motto is: try everything, life is short,” says John Dwyer, the leader of San Francisco garage rockers Thee Oh Sees. “We are growing at every turn. Every day you get a little older, a little closer to the grave – you should taste it all.”
A master of contemporary garage rock, he came into prominence as part of the fruitful San Francisco scene of the early 2000s. Since then Thee Oh Sees have rattled out 21 LPs of bewilderingly consistent quality, under various iterations of their name, and Dwyer has written, recorded and released another 20 albums with other collaborators, encompassing everything from industrial electronics to improvised jazz and death metal.
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Ahead of Chance the Rapper’s bow as the emcee of SNL, we take a look at his musical forebears who have pleased, shocked and nosedived over the years
This weekend, Chance the Rapper will take the stage to host Saturday Night Live, leaving the musical guest duties to Eminem. Last weekend, Taylor Swift rejoined the late-night sketch institution for a couple of songs, but she also handled full hosting responsibilities back in 2009. Ever since Paul Simon emceed the second-ever episode back in 1975, SNL has granted adventurous musicians the opportunity to try their hand at sketch work.
Episodes hosted by non-professional actors are always dicey; there are few experiences more exquisitely painful than watching a good-natured quarterback stumble his way through a commercial parody. Musicians generally have a better go of things, channeling their natural stage presence into a more precise format. But when they tank, they tank hard. We’ve surveyed Saturday Night Live’s long history of turning the host’s mic over to music stars.
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With her synthpop-heavy sixth album, the popstar dispenses with her diary-like lyrics in favour of something darker and more suggestive
For any Taylor Swift fan, a new album release promises not just a fresh batch of music but a chance to engage in that old Swiftian pastime: unpacking and deciphering the references in her lyrics, from allusions to the boys who’ve earned her ire to the ones that captured her heart. Following the release of the superstar’s sixth album, Reputation, the tradition persists: except this time, the album’s as much about Swift as it is the courtships that put tabloids in a frenzy.
With previous Swift albums, clues were hidden inside lyric sheets, where random capitalized letters signalled the person or place that inspired the track. Sometimes, like with the scorched-earth paean Dear John, the clue was in the title, while others were more crafty. In those good old days, making fodder of Swift’s lyrics was a fun indulgence given her, ahem, reputation as a deeply personal and perceptive songwriter, candid enough to recount her romantic travails with a memoirist’s sensibility but calculating enough to hide the real dirt where only super-fans could find it.
