Adrianne Lenker announces her new solo album. Bright Future, out on 22 March on 4AD, marks Lenker’s first album since 2020’s songs & instrumentals, and features co-production from Philip Weinrobe, alongside contributions from Nick Hakim, Mat Davidson, and Josefin Runsteen.
Admirers of Adrianne’s solo music and Big Thief will find on Bright Future her reliable talent captured in stunning, magnetic clarity. In the company of parlour instruments, Adrianne’s modern melodic and lyrical inventions create new traditions. Her vocal flights at times outwit gravity, then land, guiding along an earthly path. The wholeness of the un-spliced recordings preserves a time of musical friendship during a golden season. The album also features the original recording of the now-beloved Big Thief song ‘Vampire Empire.’ Although they recorded for only some days, in Adrianne’s recollection, “It felt like we were together forever.”
TANGK is the righteous and vibrant fifth album from madcap truth-seekers, IDLES. Pronounced “tank” with a whiff of the “g” - an onomatopoeic reference to the lashing way the band imagined their guitars sounding that has since grown into a sigil for living in love - the record is the band’s most ambitious and striking work yet.
Where IDLES were once set on taking the world’s piss, squaring off with strong jaws against the perennially entitled, and exercising personal trauma in real time, they have arrived in this new act to offer the fruits of such perseverance: love, joy, and indeed gratitude for the mere opportunity of existence.
A radical sense of defiant empowerment radiates from TANGK, co-produced by Nigel Godrich, Kenny Beats, and IDLES guitarist Mark Bowen. Despite his reputation as an incendiary post-punk sparkplug, frontman Joe Talbot sings almost all the feelings inside these 10 songs with hard-earned soul, offering each lusty vow or solidarity plea as a bona fide pop song—that is, a thing for everyone to pass around and share, communal anthems intended for overcoming our grievance.
Recalibrating her singular journey in the British musical landscape with her most open-hearted, direct and intimate collection of material yet, Love In Constant Spectacle evokes spectacular imagery and distills Weaver's vision in its purest form, elevating her inimitable sound and poetic vision to new heights.
Love In Constant Spectacle is otherworldly, it is both intimate yet distant, a surrealist interpretation of the foundations that make us human – the stories and landscapes it paints are habitats of their own. A voyage into undisclosed pastures, it’s a heartfelt manifesto from an artist that continues to boundlessly evolve with each chapter in her career.
Anchored by evocative melodies and an enthralling lyrical narrative, First Two Pages of Frankenstein signals a thrilling new chapter in the band’s discography. The 11-song album was produced by The National at Long Pond Studios in upstate New York and features guest appearances by Taylor Swift, Phoebe Bridgers and Sufjan Stevens.
The follow-up to 2019’s top five hit album I Am Easy To Find, First Two Pages of Frankenstein was initially stalled while lead singer Matt Berninger navigated “a very dark spot where I couldn’t come up with lyrics or melodies at all, and that period lasted for over a year. Even though we’d always been anxious and argued quite a lot whenever we were working on a record, this was the first time it ever felt like maybe things really had come to an end.” Instead, The National “managed to come back together and approach everything from a different angle, and because of that we arrived at what feels like a new era for the band,” according to guitarist/ pianist Bryce Dessner, whose bandmates also include his....