Donna Missal Shares New Sega Bodega Collab As She Embarks on First Post-COVID Tour

It’s just a few days before Donna Missal is set to leave for Houston to begin her stint opening for CHVRCHES across the United States. The L.A.-based singer has been busy with rehearsals, figuring out a cohesive way to bring together her body of work. There is new, unreleased material and songs that will drop while she’s on the road, in addition to her older music and the tunes from her 2020 album, Lighter, that she has yet to play live. This will be Missal’s first tour since the onset of the COVID-19 pandemic. 

“It feels like everything has changed so drastically about touring, as well as our environment,” she says over a Zoom call. Missal will be performing in cities she has seen before, but the experience could be something entirely new. “It feels like I’ve never done this before and I’m going on my first tour ever. It’s a strange feeling. I think it’s all very unknown still and I won’t know what I’ve gotten myself into until we’re out there doing it.”

Throughout 2020 and 2021, Missal had been staying active making new music. In fact, her new single “(to me) your face is love,” stems from this period. It’s part of a body of work that brings together Missal with UK producer Sega Bodega – he also produced her single “sex is good (but have you tried),” released in March 2021. The two began collaborating remotely during the pandemic, but this single actually stems from an in-person session, Missal’s first since prior to the stay-at-home period. 

With “(to me) your face is love,” Missal offers a dose of retro-futurism with a sound that recalls late 1990s breakbeat. The accompanying video is a fashion-forward clip where Missal’s wardrobe, both sculptural and ethereal, reflects the juxtaposition of the powerful, electronic beat with delicate vocals.

Over a year ago, when Missal, like so many others, was at home, she bought some equipment and started recording at home. It was something she hadn’t done before. “All the music that I had made at that point, even if I had started it on my own, was created in a studio environment,” she says. “This was the first time I was working on ideas with total autonomy. It was just me messing around at home with vocals.”

Missal had a goal in mind. She wanted to gain enough skill at recording her own vocals so that, when the time was right, she could go into the studio and better explain the sounds she wanted or, maybe, do it herself. “I just wanted total freedom to focus on voice and lyrics and melody,” she says. So, instead of recording to an instrumental track or writing music, she used a clicker when she recorded with Logic, singing to a tempo that she thought would work. 

The pandemic also prompted Missal to connect with people who could collaborate virtually. That was new for Missal too, as she’s typically worked on music with others in person. She sent her a cappella demos to Bodega, who composed music around the tracks and sent them back to her. “ It was the first time that I ever worked in that kind of process before,” she says. “We started making a lot of music that way.”

Flash forward to the summer of 2021: Missal flew out to London for her first recording sessions in a studio since the onset of the pandemic. The 10-day excursion was also her first longer stay in the city. “I wanted to finish everything that we started and I wanted to meet the people that had been working on this music with me remotely,” she says. “I had amazing support from my label to go do that.”

But Missal was able to do more than finish the tracks that began as remote collaborations. She and Bodega decided to spend a couple days writing new material together, in the same space. “It was so different from how I had been making music for about a year [at that point],” she says. “I was back in my environment, an environment that was very familiar to me, writing in a room with a person present and they’re producing and you’re doing your thing. It felt like a completely brand new thing, even though it was something that I had done before.”

“(To me) your face is love” is one of the songs that came out of this session. They wrote it in a matter of hours while in the studio, with Bodega working on the production and Missal handling lyrics and melody. “The song was really instantaneous. That’s always really fun for me, when they come together that way. Minimal effort, and you’re making choices based on what feels good and what you like,” she says. “You’re not thinking about how it will be perceived. You’re making music with someone in real time where both of your intentions are very pure.”

The experience in London proved to be eye-opening for Missal. “I also had this idea going out there that I wasn’t cool enough to hang out with those people,” she says. “It’s the most inclusive group of people that I’ve ever met. They were incredibly kind to me and brought me in like it was nothing. No one had questions about whether you were a visible person or whether you were worth it to engage with. That just wasn’t part of the way that anyone made their choices there.”

It was a chance to work on music without having to think about likes, followers, or whether or not it will sell or appeal to her fans. “I had a real revelation while being out there. I felt so much freedom that I hadn’t felt before,” she says. “It’s something that I’ll bring into my process moving forward with everything that I do, this openness to allowing yourself to be creative and make choices that feel good without worrying about all that other shit that tends to muddy the process and make music-making about something that it shouldn’t have ever been about.”

Follow Donna Missal on Instagram for ongoing updates.

Girls Rock Santa Barbara Interviews Lauren Mayberry of CHVRCHES

This year, Girls Rock Santa Barbara has developed The Summer of Love Internship, its first ever paid internship for teen girls and gender-expansive youth, which allows the organization to continue to provide a safe, collaborative environment in which to encourage lifelong skills like positive peer bonding and self-confident resilience. The internship, which lasts six weeks and pays each intern $500, offers six exciting and arts-focused disciplines: Record Label, Recording Artist, Social Media, Journalism, Photography, and Podcasting. Audiofemme is pleased to publish the following article, written by Andrea Li and Emelie Sanchez, two interns from the Journalism program.

Electro-pop powerhouse Lauren Mayberry of Scottish band Chvrches embodies Girls Rock Camp’s mission as global movement and an incredible organization for young girls and non-binary youth to tap into their musical side. Not only has she personally been a part of Girls Rock camps in the past, her band partnered with Plus1 to donate $1 from every ticket sold to Girls Rock camps all around the world. She recently sat down to talk with two interns from the Girls Rock Santa Barbara Journalism internship program over Zoom.

Mayberry herself has been an inspiration to many, as she has been very vocal about supporting the feminist movement, even publicly bashing critics who have made misogynistic comments about her and her stage outfits, explaining how the comments have affected her everyday life and mental health.

Chvrches have been together since 2011, and have steadily grown in popularity. Last year they collaborated with Marshmello on their song, “Here With Me”, which has garnered over 39 million views and 29,000 comments on YouTube. Mayberry has been in the process of making a new album with her bandmates Iain Cook and Martin Doherty since February. Over the years, they have learned the ins-and-outs of how they write their music – this makes writing an album while socially distancing is a bit easier for them. In April, they released a “Separate But Together” version of “Forever” (originally from 2018 LP Love Is Dead) which shows how they collaborate from afar. Check out the video and read our interview below.

GRSB: You’ve mentioned on your social media that you’ve been working on a new album. What can we expect from this album, and how does it differ from your 2018 album, Love Is Dead?

LM: We started writing together again in February, so we had about a month together in the same room before everything went into shut-down. But, we’ve been writing [over Zoom at] a set time every day. Iain and Martin have this kind of screen sharing software so they can both be in the session at the same time recording things. I’ll record my vocals separately and send [it to] them. Normally, before when we’ve [made albums] we started writing and then figured out what the concept was. This time around we actually had a concept in mind before we started writing.

GRSB: Have there been any challenges or obstacles you’ve had to overcome while working remotely with your bandmates?

LM: Yeah, it’s been very weird. It’s the longest time we’ve ever gone without seeing each other. Time zones are tricky since Martin and I live in Los Angeles, and Iain lives in Glasgow, Scotland. So we have to be pretty specific about when we work, and I’m not very good with technology. I think it’s going good because it’s made me have to have more ownership over [my vocals] and be more assertive, ‘cause sometimes I think if I’m not going to be very good at [something] then I just don’t do it, which is a bad habit.

GRSB: You’ve been very vocal in calling out sexist and misogynistic comments you’ve received in the past. How do these comments affect your everyday life and your mental health?

LM: I think it’s definitely been a process, like figuring out if you just completely ignore it or not. I think it’s been helpful to try and create a “persona” that is different from real-life me. Real-life me doesn’t dress the way I do on stage – it’s part of a performance. I kinda feel like trying to own your femininity and use it as part of your art is empowering to me, and it’s not for other people to tell me what to do with that. Whether I like it or not I’m still a woman; I can’t change that. It’s brought up to us pretty constantly through our work, so to me, it feels like a positive way to harness that. But also, knowing when to take a step back and take a mental health break is important. I think it’s just about knowing when you need to give yourself some time off.

GRSB: Given everything that you’ve had to go through, what advice would you give to your younger self with the knowledge you have today?

LM: I think I would want to be a little bit more trusting of the people that I can trust. I think I was a little suspicious of everybody at the beginning and at the beginning, it was all men – really great men, but men I didn’t know. We were getting signed to labels that had mostly male bands. One A&R said “We’re gonna make you the next [Pixie Lott]” and I was like, “This is not at all what this is meant to be – this guy does not get it.” I feel like I was quite scared, so I would say make decisions based on positive things, and have more fun – it’s going to be fine. And take more photographs! I feel like I’m always stuck between not being on my phone all the time and being present in the moment. Sometimes I’ll look back and I’m like “Oh yeah, we didn’t take any photos or videos.” Especially now when everyone is inside all the time, I want to reminisce. So collect the memories while you can.

GRSB: Earlier you mentioned how you’ve shifted over to Zoom, but before the shutdown, what was your creative process like when writing and recording music?

LM: Well, normally we don’t really come in with pre-existing ideas. We’ll get in a room and the guys will start playing and we’ll come up with a beat or a riff or something on synths. Then, we’ll write kind of a vocal over the top of it. So, every Chvrches song has a recorded version that’s just me or Martin singing nonsense over it. Once we have that, we write lyrics and put them in afterward. They are the last thing that goes on.

GRSB: How much of your music is inspired by real-life events and situations or just stories?

LM: I would say for us, most of the stuff we have written so far has been purely personal. I think on the new record, we do a little bit more of a narrative style of writing, but using it to tell personal feelings. I feel like everything always starts from a personal place, and I think this time the concept is a bit more theatrical. Then there’s space to tell those personal stories more narratively. Which is why I love artists like Nick Cave and Jenny Lewis because they write like that.

GRSB: Do you have any advice for young girls who are just now starting to deal with the stress and pressures of existing in a male-dominated world?

LM: Yeah, it’s a lot and I get it. Sometimes you’re like, “I don’t wanna do this, I want to just be allowed to go to work or school or perform.” I don’t want to have to deal with [misogyny], because the guys don’t have to deal with it. What’s been super helpful for me is to have a good group of female friends because they understand. I’m really lucky to have friends back home because it can be frustrating. Iain and Martin can be so supportive but they don’t totally get it the same way other women do. You don’t have to explain why it’s so terrible or annoying – they know already.

GRSB: Chvrches has partnered with Plus1 to donate to Girls Rock in the past. How did this collaboration start, and why did you choose Girls Rock?

LM: Growing up I lived in the middle of nowhere and didn’t really know any other kids that played music and it was quite lonely. When I started playing in bands I realized that it was all boys, and it felt kind of scary. I guess I wished that I had camps like Girls Rock growing up, it would have been a different experience for me. And I’m not going to be [making music] forever, one day I’m going to wake up with sore hips and I’m not gonna be able to tour in the same way. So we felt like we wanted to do something [to give back] while we had the chance.

Follow Chvrches on Facebook for ongoing updates.

NEWS ROUNDUP: International Women’s Day, Leaving Neverland, and MORE

Maggie Rogers, Mavis Staples, Phoebe Bridgers and Brandi Carlile meet at Newport Music Fest. Photo by Danny Clinch. The artists shared this photo along with messages of empowerment for International Women’s Day via Twitter.

It’s International Women’s Day!

Though some form of International Women’s Day has been around since 1909, the holiday celebrating women around the world has really gained traction over the last decade. This year’s theme was #BalanceForBetter, seeking to promote a more gender balanced world. Here’s how our favorite ladies in the music world celebrated.

  • Cardi B made a playlist on Apple Music for the occasion, featuring visionary women (including Grace Jones, Madonna, Tina Turner, and Solange).
  • Sharon Van Etten and Courtney Barnett both appeared as a guest curators for Amazon’s music streaming platform.
  • Ariana Grande tweeted a short video by director Hanna Lux Davis, reminding everyone a few tweets later “it ain’t feminism if it ain’t intersectional.”

  • Rihanna looked powerful in a black blazer.

  • Miley Cyrus shouted out some of her favorite bad ass bitches:

  • … while Lady Gaga paid tribute to her mama.

  • Maggie Rogers and Mavis Staples both reminisced via this photo with Phoebe Bridgers and Brandi Carlile.

  • Dua Lipa had some tea for those who fall short of protecting human rights.

  • And Micropixie released a video for Como Mínimo (#YesIsTheMinimum), from her upcoming LP Dark Sight of the Moon, out April 9.

The Fallout of Leaving Neverland

The explosive HBO Documentary about Michael Jackson’s alleged child abuse, Leaving Neverland, aired last weekend, and unsurprisingly, folks are divided on its message. Though the allegations are nothing new (Jackson settled a child abuse case out of court in 1994, and was acquitted in a similar case with a different victim in 2005) the harrowing testimonies of two men who say they were abused by Jackson when they were 7 and 10 are hard to dismiss. Radio stations have pulled Jackson’s enduring pop hits,  The Simpsons producers have pulled iconic episode “Stark Raving Dad” from the syndication due to Jackson’s guest voice over, and a Chicago run of biographical jukebox musical “Don’t Stop ‘Til You Get Enough” was cancelled, though its team said this occurred due to scheduling difficulties and that they’ve set their sights on Broadway in 2020. Jackson’s daughter, Paris, seemed unfazed in a series of tweets in which she told folks to “chillax” – implying that even if Jackson’s legacy took a huge hit, his $500 million estate would ultimately be unaffected by the doc (though they’d previously filed a lawsuit to block it from airing). Meanwhile, debate continues to rage regarding blame placed on the victims’ parents, the degree to which Joe Jackson’s horrific behavior absolves his son’s various issues (including the alleged child abuse) and, of course, the idea that Jackson himself is an innocent victim of a slanderous campaign. One thing is certain: Jackson’s story is ultimately one of the saddest in pop music history, taking into account his tarnished childhood, various tabloid scandals, untimely death due to physician-sanctioned drug abuse – and it’s only compounded by the suffering of his alleged victims.

That New New

Solange has blessed the world with the (semi) surprise release of When I Get Home, her follow-up to 2016’s show-stopping A Seat at the Table.

Cementing their legacy as Jersey’s favorite pop punks, The Bouncing Souls released the second single from their forthcoming 30th anniversary EP Crucial Moments, out March 15. Their massive tour kicks off the next day at Jersey City’s White Eagle Hall.

Vampire Weekend have shared two new tracks from their upcoming Father of the Bride LP, out in May

Mac DeMarco announced his next record Here Comes the Cowboy with a single called “Nobody,” giving Mitski fans a little déjà vu; both artists (and their shared PR team) say it’s just a coincidence.

Bedouine is back with a one-off single that reflects on the aftermath of her gorgeous 2017 self-titled debut.

SOAK has released another lovely singled from April 26 release Grim Town., announcing some US tour dates (including two at SXSW) to go with it.

Alan Vega’s final recordings have been released to benefit the Rock and Roll Forever Foundation, which provides teaching materials to educators seeking to engage students by teaching pop music history. The Suicide co-founder passed away in 2016.

Everyone loves a corgi – and that includes illuminati hotties, who are very honest about the fact that sometimes doggos are are the only thing keeping us in a mediocre relationship. They’ll be in Austin next week for SXSW.

Stef Chura has announced her sophomore record Midnight with its lead single “Method Man.”

Blushh shared a one-off single to get folks pumped for their upcoming SXSW dates as well.

Toronto punks Greys have announced third LP Age Hasn’t Spoiled You, out May 10, sharing its first single “These Things Happen.”

Rick from Pile remains the biggest babe in all of DIY indie rock; this week the band released their latest single and announced forthcoming LP Green and Gray, out May 3.

In other DIY news, Patio ready themselves for the April 5 release of Essentials with their latest track, “New Reality.”

NOTS have seemingly recovered from their recent lineup changes and shared the first single from their upcoming LP 3, out May 10. Two of its members are also releasing an LP this year as Hash Redactor.

The National have announced a new collaborative project with director Mike Mills entitled I Am Easy To Find. It’s essentially an hour-long companion album to a 24-minute short film of the same name starring Alicia Vikander. The first track on the album, “You Had Your Soul With You,” has some guest stars as well – Sharon Van Etten, Kate Stables of This Is the Kit, The Brooklyn Youth Choir, and longtime David Bowie bandmate Gail Ann Dorsey lend vocals. The band have announced a bunch of tour dates with Courtney Barnett and Alvvays supporting.

Local Natives released two videos this week, one of which stars Kate Mara. Both will appear on the April 26 release of Violet Street, a follow-up to 2016’s Sunlit Youth; they’ve previously announced a slew of tour dates.

Sky Blue, a posthumous collection of unreleased material from celebrated singer-songwriter Townes Van Zandt, arrived March 7 to commemorate what would’ve been his 75th birthday.

Kishi Bashi returns with new LP Omoiyari on May 31, and has released the album’s first single, “Summer of ’42”.

Charly Bliss have shared a video for “Chatroom,” the second single from their upcoming record Young Enough, out May 10.

CupcakKe keeps it topical with a new single entitled “Bird Box,” referencing the recent Netflix horror movie and the Jussie Smollett controversy alike.

Having penned Grammy-nominated hits for Ariana Grande and Janelle Monae, Tayla Parx is poised to break out on her own with a highly anticipated solo debut on Atlantic Records, We Need to Talk, out April 5. Her latest video for “I Want You” follows earlier singles “Slow Dancing” and “Me vs. Us.”

Christian Fennesz, who records electronic music under his last name, returns to basics with a new 12-minute track called “In My Room,” from forthcoming 4-song LP Agora, out March 29.

Ahead of the April 12 release of No Geography, The Chemical Brothers share a video for “We’ve Got To Try.”

Festival faves Marshmello and CHVRCHES have collaborated on a sugary new single titled “Here With Me.”

Dido’s first record since 2013, Still on My Mind, is out today; her first tour in fifteen years hits the US in June.

End Notes

  • The Prodigy singer Keith Flint was found dead of apparent suicide at the age of 49.
  • I would unironically love to attend one of these West Coast Man Man shows featuring “Friday” singer Rebecca Black.
  • Gayle King interviewed R. Kelly for CBS regarding the sexual abuse allegations against him, prompting an explosive on-camera outburst from the singer that has been widely discussed. We’re so tired.
  • Swedish black metal band Watain have been banned from performing in Singapore due to their “history of denigrating religions and promoting violence.”
  • NYC concert-goers spontaneously burst into song on the ACE platform following a sold-out Robyn show at MSG.
  • Speaking of Robyn, she’s been announced as one of the headliners for Pitchfork Music Festival, which takes place in Chicago from July 19-21. HAIM and the Isley Brothers top Friday and Saturday’s bills respectively, with Stereolab, Mavis Staples, Belle & Sebastian, Earl Sweatshirt, Pusha T, Tirzah, Kurt Vile, Low, Julia Holter, Rico Nasty, Neneh Cherry, Snail Mail, Khruangbin, Soccer Mommy, Amber Mark, CHAI, and more set to play as well.
  • While we’re on the subject of festivals, Variety has leaked a potential lineup for Woodstock 50 and it’s not exactly overflowing with “heritage” acts; Jay-Z, Chance the Rapper, and Black Keys look like likely headliners.
  • Elton John tweeted an definite release date in October 2019 for his upcoming memoir.
  • Massive Attack have rescheduled some of the North American Mezzanine reunion tour dates due to illness.
  • You can buy the hospital gown that Kurt Cobain wore during a legendary 1992 Reading Festival Nirvana performance for a mere $50,000.
  • L7’s Donita Sparks emerged as a hero when, in true punk fashion, Marky Ramone and Johnny Rotten nearly came to blows at a panel discussion on upcoming John Varvatos and Iggy Pop-produced Epix docu-series Punk.
  • Morrissey is taking his upcoming covers record California Sun to Broadway.
  • Taylor Swift stalker Roger Alvarado was arrested for breaking into the pop star’s home again, fresh off of a stint in jail for the same charge (bringing his Swift-related arrest total to three).
  • Arcade Fire will reportedly cover “Baby Mine” in Tim Burton’s live-action Dumbo remake, and it’s a real family affair.
  • Mark your sundials – Red Hot Chili Peppers will stream a live concert from the Pyramids of Giza, Egypt on March 15.

NEWS ROUNDUP: Hateful Policy Haters, R. Kelly Lawsuit & More

Hateful Policy Haters, Lawsuits & More

By Jasmine Williams

Spotify Walks Back

Spotify’s new ‘Hateful Content and Conduct’ Policy has a whole lot of haters. Following outcry from a number of industry heavyweights and rumors of internal conflict, Spotify has backtracked on the rule which stated that Spotify could choose to remove or refrain from promoting artist whose music promotes hate or engages in behavior that is “especially harmful or hateful.” So far, the policy’s implementation only saw the removal of R. Kelly and XXXTentacion from promotional playlists, although their content was still searchable.

Public critics of the policy, including Kendrick Lamar and Top Dawg Entertainment, accused the streaming giant of censorship, vagueness, and discrimination. R. Kelly has been accused of various forms of sexual abuse while XXXTentacion was charged with battering a pregnant woman, but neither have been convicted. In response to Spotify’s action, XXXTentacion’s manager tweeted a list of other artist who have been accused of deplorable conduct.

The controversy over the rule illustrates the music industry’s increasingly complicated relationship with the #MeToo movement. While XXXTentacion’s streaming numbers immediately decreased following Spotify’s policy, the opposite effect was had on R. Kelly who saw a rise in plays on the streaming service. Spotify has announced that they will restore XXXTentacion’s presence on promotional content but they have no plans to reinstate Kelly.

R. Kelly Gets Sued (Again)

In very related news, in New York on Monday, R.Kelly was sued by a woman for sexual battery, false imprisonment, and failure to disclose an STD. Faith A. Rodgers began a relationship after meeting the R&B hitmaker in March of 2017, when she was 19 and he was 51. In the following year, Rodgers alleges that Kelly abused her “mentally, sexually, and verbally,” and held her against her well in various places without access to food, water, or a bathroom. Her lawyer, Faith C. Hills, calls the lawsuit a standard example of R. Kelly’s alleged predatory behavior, stating, “For over 20 years, women across America have been victimized by R. Kelly, and have filed eerily similar claims.”

That New New

Pusha T dropped Daytona, his third studio album. Right before the release, he spoke with NPR’s Sidney Madden about Kanye West, rap beefs, and #MeToo. Pusha fans have waited three years for a LP from the Clipse member but it’s not just the tracks that have people talking. The album artwork has sparked a controversy. Kanye provided the creative direction for Daytona and made the last minute decision to spend $85,000 to license a photo of the late Whitney Houston’s bathroom for the cover (seen below). Houston’s family is now demanding a public apology.

Asap Rocky also released his third studio LP, Testing. Preceding the release, the rapper/style icon premiered an art performance in which he went through a series of physical challenges in front of an audience at Sotheby’s.

Maggie Rogers returned from a musical hiatus with her new Rostam-produced track, “Fallingwater.”

Viral sensation Clairo and Stones Throw signee Sudan Archives dropped respective EPs this week. Friday brought the debut album from Thunderpussy, who will celebrate by playing Sasquatch! Fest this weekend; a new Chvrches album, Love Is Dead; and two long-awaited returns: Katy Davidson released her first Dear Nora album in twelve years and George Clinton’s Parliament came out with Medical Fraud Dogg, the band’s first LP in almost forty years!

Two very long-awaited returns occurred yesterday. Katy Davidson released her first Dear Nora album in twelve years and George Clinton’s Parliament came out with Medical Fraud Dogg, the band’s first LP in almost forty years!

 

End Notes

VIDEO OF THE WEEK: CHVRCHES “Miracle” & More

With the impending release of their third studio record, Love Is Dead, slated for release May 25, Scottish synth-poppers CHVRCHES shared a video for the LP’s fourth single, “Miracle.” It’s a bit of a bait-and-switch, featuring lead singer Lauren Mayberry lit in gauzy neon hues, her voice sweet from the song’s first notes. But the glimmer fades to a heavy drop, her vocals distorted with ’90s alt-rock fuzz, reminiscent of The Breeders’ “Cannonball.” The video reflects that change by bursting into violence – extras and band members alike clash in carefully choreographed slo-mo fights, turning the once ethereal setting into a war zone. The surreality of it, along with the appearance of a pulsating blue heart, might remind some viewers of Darren Aronofsky’s recent cinematic raspberry, Mother – but that’s territory CHVRCHES already has covered.

The band’s next scheduled New York appearance will be in June at Governors Ball; most of their dates this summer include high-profile stops on the festival circuit throughout Europe and the United States.

J.Cole released his fifth studio album KOD last Friday, and instead of getting lost in hype he’s staying true to his message. The artist is known for socially-conscious hip-hop, eschewing common tropes on women, making money, and drinking Hennessey in favor of more serious issues like capitalism, addiction and death. His latest video for “ATM” makes a very blatant statement on the perils of addiction to money; things quickly turn dark as we see just how far someone might go for the dollar.

Yes, Janelle Monáe has made our list quite frequently as of late, but with Dirty Computer finally arriving tomorrow, her creative antics haven’t slowed one bit.

While I can’t say the song itself is a stand alone favorite, Seinabo Sey’s video for her single “Breath” is full of beautiful imagery. The video depicts simple vignettes of mothers, daughters, and the strength of female sisterhood.

The Flaming Lips released a 7″ pressed with beer (you heard me) on Record Store Day, and to generate a little more (ahem) buzz, they’ve created a playful new video for its a-side, “The Story Of Yum Yum and Dragon.” Reviving the beloved space bubble that Wayne Coyne spends so much time in, this video feels like an ode to the goofy indie rock spirit of a decade ago, even as the band looks for new a take on the old framework.

NEWS ROUNDUP: #GrammySoMale, The Superbowl, Sh*tholes & More

  • #GrammySoMale

    Despite a bombastic performance from Kendrick Lamar, a rallying #MeToo speech from Janelle Monae, and an incredibly emotional Kesha moment, last Sunday’s Grammys disappointed in a giant way. Hip-hop got shut out from the major categories again (this time by Bruno Mars) and women were all but ignored, claiming only eleven of the 84 trophies. Best new artist winner Alessia Cara was the only solo female to win a Grammy. She beat out SZA, who despite being the most nominated lady of the night, went home empty-handed. In a night filled with multiple appearances from U2, Sting, and Shaggy, many wondered why Lorde (the only female nominee for Album of the Year) did not perform. Following the show it was revealed that the Melodrama artist was never offered a solo slot, only an appearance in a Tom Petty tribute, which she understandably turned down. Asked for comment on the matter, Grammy executive producer Ken Ehrlich told Variety, “We have a box and it gets full. She had a great album. There’s no way we can really deal with everybody.” His idiocy was quickly eclipsed by Recording Academy president, Neil Portnow. When asked about the lack of female representation in the awards, Portnow made the following tone deaf statement:

    “It has to begin with… women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level… [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][They need] to step up because I think they would be welcome…”

    Many were not happy with his comments, especially his suggestion for women to “step up.” Pink and Charli XCX were among those that took to Twitter to lambast Portnow; others followed suit by using #GrammySoMale to voice their disapproval. On Thursday, in response, Portnow announced the establishment of a new task force that will investigate gender bias at The Grammys and the Recording Academy. On the same day, music-business lawyer Rosemary Carroll spearheaded a group of female music executives’ call for Portnow step down. In an open letter, the executives state, “Today we are stepping up and stepping in to demand your resignation.”

  • Janet Jackson’s Super Bowl RevengeOn Sunday night, Justin Timberlake returns to the Super Bowl for the halftime performance. The move has prompted many to ask “What about Janet?” It was fourteen years ago that JT and the “Rhythm Nation” singer shocked television audiences when Timberlake revealed Jackson’s breast at the end of their 2004 halftime performance of “Rock Your Body.” While Timberlake’s career has continued to flourish, Jackson was virtually blacklisted from the industry after the event.Though Jackson won’t be present at the Super Bowl, she is finally making her deserved comeback. Coachella organizers Goldenvoice have announced Jackson as one of the the top billers of the 2018 Panorama music festival. From July 27 – 29, she’ll headline along with The Killers, The Weekend, SZA, Father John Misty, St. Vincent, The War on Drugs, Due Lipa, Gucci Mane, Cardi B, The XX, Fleet Foxes, Migos, Odessa, and David Byrne.
  • Speaking of David Byrne…

    Byrne made news for several events this week. The Talking Heads founder is releasing a new album, American Utopia, in March, and yesterday he released a playlist in response to a certain political figure. “The Beautiful Shitholes” is a collection of tracks from the likes of Amadou & Mariam, Orchestra Baobab, and Calle 13. Byrne released the following partial statement along with the playlist:“I assume I don’t have to explain where the shithole reference came from.Here’s a playlist that gives just the smallest sample of the depth and range of creativity that continues to pour out of the countries in Africa and the Caribbean. It is undeniable. Can music help us empathize with its makers?”Read Byrne’s full statement and listen to “The Beautiful Shitholes” here.

  • Other Highlights

    After a couple of years of heavy touring with a live band and the exit of Rhye co-founder Robin Hannibal, Mike Milosh is back with Blood, the follow up to Rhye’s 2013 debut, Woman. “Count To Five” is the first official video off of the sophomore release. Albert Hammond Jr.’s upcoming album, Francis Trouble, is out March 9th via Red Bull Records. On Thursday night he performed new track, “Muted Beatings,” on Conan. Chvrches released a clip this week for fresh single, “Get Out.” The Scottish trio will play Governor’s Ball in NYC on June 3rd. The tracklist for the soundtrack of upcoming Marvel movie Black Panther has been released; Grammy-winning rapper Kendrick Lamar co-produced the soundtrack which features SZA, Khalid, Jorja Smith, Jay Rock, and more. The first single off the album, “Pray For Me,” is out now and features Lamar and The Weekend. The soundtrack drops February 9th. King Krule is asking listeners to submit photos inspired by the cover of his latest album, The Ooz. The collection of pics are being published on a new Instagram account and prizes may be involved. Flatbush Zombies have three new projects in the works. The rappers’ sophomore album, Vacation in Hell is out April 6th, their touring life is chronicled in Building a Ladder, a new documentary out April 2nd, and group member Erick “The Architect” Elliot is releasing Arcstrumentals2 on February 16th. Nas performed his seminal album, Illmatic, with the National Symphony Orchestra. The concert airs on PBS tonite at 9pm. Noughties nostalgia is fulfilled on “Get It,” a new track from Missy Elliot, Kelly Rowland, and Busta Rhymes. The copyright floodgates have been opened! Kanye West and Solange are both being sued by Prince Phillip Mitchell for unsolicited use of his song “If We Can’t Be Lovers.” West sampled the track for 2007 song, “Everything I Am,” Knowles used it in her leaked 2008 release, “Fuck The Industry.”

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AudioFemme’s Best of 2013

Best of 2013 Graphic

From elaborate roll-outs to surprise releases, 2013 was a banner year for comebacks, break-outs, break-ups, and overnight sensations.  The fact that the most oblique content could cause rampant controversy to reverberate through the blogosphere turned every song into a story and made every story seem epic.  At the heart of it all are the sounds that defined this particular calendar year, from electronic pop to punk rock  to hip-hop to hardcore and everything in between.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”AudioFemme Staff” author=”Top 50 Albums of 2013″ image=”http://www.audiofemme.com/wp-content/uploads/2014/01/01MBVmbv-300×298.jpg”]

After much debate, we’re proud of our little list and believe it represents releases that are among the best and most important of the year.  Here are our top 50 LPs in two parts: 50-26 // 25-1

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And check out our Top Albums of 2013 Playlist on Spotify.
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”AudioFemme Staff” author=”Top 50 Tracks of 2013″ image=”http://www.audiofemme.com/wp-content/uploads/2014/01/05HaimDays.jpg”]
In a given year, thousands of records are released, many of them having upwards of ten tracks apiece.  So it’s actually physically impossible to hear them all, and can be downright daunting to wrangle them into some kind of intelligible countdown.  But we certainly have done our best, here cataloging the tunes we just couldn’t stop playing, and stuck fast in our heads when we finally managed to turn them off.

Here’s our Top Tracks of 2013 Playlist on Spotify.

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Staff Lists:

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Lindsey Rhoades” author=”RiotGrrl’s Influence in 2013″ image=”http://www.audiofemme.com/wp-content/uploads/2013/12/kimkathleen.jpg”]
Not only are we as a culture stepping up to finally examine sexism and exploitation and appropriation within the industry, there are more acts than ever completely unafraid to do their own thing – be it overtly political (see: Priests) or revolutionary in its emotional candidness (looking at you, Waxahatchee).
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Carena Liptak” author=”Best Album Art” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/sunbather.jpg”]
Let’s all just agree to agree that hip hop as a genre won the album cover contest this year, okay?
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Rebecca Kunin” author=”2013’s Best Soundtracks” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/Soundtrack.jpg”]
Music has the ability to make or break a cinematic moment.  Would Jaws be as scary if it weren’t for the theme song? Or would we cry as hard when Leo Dicaprio sunk to the bottom of the Atlantic Ocean if Celine Dion didn’t belt “My Heart Will Go On” every five minutes? Probably not.
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Lindsey Rhoades” author=”2013: The Year in Music Controversies” image=”http://www.audiofemme.com/wp-content/uploads/2014/01/musicthoughts.jpg”]In the age of the ubiquitous think-piece, here’s another, and this time, it’s about think-pieces.  In 2013 what think-pieces mean is that no one is about to get away with anything.[/fusion_testimonial]

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Kelly Tunney” author=”Top 10 Unexplainable Kanye Moments” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/Kanye.jpg”]
Mr. West has built up quite a reputation for himself. His musical talent has remained impressive throughout his 6-album career (Yeezus easily made several of this year’s “best of” lists, including our own) but Kanye’s persona has been the subject of parody and scandal for a long time now. This year, though, held several moments of Kanye-crazy that stood out among the plethora of examples from his memorable past.
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Carena Liptak” author=”Notes From The Road” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/BTHEHc8IgAAESY0.jpg-large.jpeg”]
At the beginning of 2013, adventure felt overdue — something about going to new places, with no routine or expectations, opens you up to hear music you’d never think to listen to otherwise.
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[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Raquel Dalarossa” author=”Top 7 to Anticipate in 2014″ image=”http://www.audiofemme.com/wp-content/uploads/2013/12/outkast-reunion-big-boi-andre-3000.jpg”]
Between the exciting festival rumors and anticipated album releases, 2014 is already shaping up to be a pretty amazing year (at least musically speaking).
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LIVE REVIEW: Chvrches @ Mercury Lounge 3-18-13

Imagine being an unassuming electropop band from Scotland.  You get together with your mates and nonchalantly make a few tracks, posting them on soundcloud because it seems to go well.  But then the Guardian notices.  BBC notices.  Pitchfork notices.  Sirius XMU starts playing your songs, to your delight and surprise.  On the strength of that, you book your first brief US tour, playing a handful of shows in Austin, which SXSW-goers rave about, and then head for New York to play a show that sold out so quickly more were immediately booked.  Those shows also sell out, almost instantly.  You make radio appearances.  You’re featured on every other music blog or blogging outlet.  Your first EP has yet to see release but Glassnote can barely put it out fast enough and the truth is, you have a whole album’s worth of smash-hit material for which your newfound fans are absolutely rabid.

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Chvrches at Mercury Lounge Monday night.
Chvrches at Mercury Lounge Monday night.

All of this is not so hard to imagine for Lauren Mayberry, Iain Cook, and Martin Doherty of Chvrches.  The band has done everything right, remaining humble in interviews and onstage when it would be easy to gloat about their “overnight” success.  The reality is that each musician has put in considerable time playing with other bands (the most successful of which being Doherty’s stint as touring keyboardist with The Twilight Sad), and although Chvrches as a project hasn’t been that long in the making, they’ve tapped into something worthy of all the buzz.  Most importantly, they’re not shy about working hard, willing to headline twice a night at Mercury Lounge and then play a show at 285 Kent the next day.  Rather than complain, they seem grateful for the opportunity, incredulous that anyone has noticed let alone given a damn.

But take a listen to “Lies” or “The Mother We Share” or newest cut “Recover” and it’s easy to hear why everyone’s losing it over Chvrches: glossy production, shimmering synths, dance-ready beats with sometimes whimsical flourishes, and aggressively sweet vocals that bounce along casually but deliver more weighty lyrical content than such glistening pop usually provides.  Oftentimes, those lyrics focus on the emotional rift between two people and the sadness therein, but there’s always a suggestion of hope that things can be repaired.  Bright percussion, playful loops, and keys alternating between airy and surging only help to emphasize that mission statement.

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Mayberry and Cook doin’ the thing.

In a live setting, these elements are amplified tenfold, and the band as a whole has charisma that somehow manages to go beyond Mayberry’s apt persona as front woman.  She is tiny and adorable and chicly stylish – sometimes wearing extravagant makeup but otherwise keeping it simple – but it seems dismissive to admit these things when you consider that she’s a brilliant pop songwriter, has a law degree and a master in journalism, and helps run the feminist collective TYCI.  At the late Mercury Lounge show, she sipped tea and invited the audience to pretend it was a “huge beer” and in the next breath voiced concern that someone might put something in it, with the ominous warning “roofies are real”.  She also expressed disgust over Michelle Shocked’s recent gay-bashing outburst, and befuddlement as to why there is peanut butter in everything the band has eaten stateside.  Her intelligence and wit, and how those threads appear in Chvrches’ songs are what make her truly captivating.

At the same time, Cook and Doherty demand equal focus, providing back-up vocals on several tracks.  Cook shifts impressively between guitar-weilding and manning the fortress of synths that surround him, while Doherty lays down drum-machine beats that he himself can’t help but dance to.  During the band’s second-to-last song, an unreleased track called “Tide”, Doherty and Mayberry switched rolls, Doherty taking front-and-center with his own yearning vocals.  It was a nice shift that left me longing for the band to do a track where the two alternate from verse-to-verse.  There are just so many places for this band to take their sound, all of them promising, that it’s impossible not to be excited by the prospect of a proper LP.

Chvrches haven’t been around long but their set proves they’re more than ready for a full-length release.  They covered Prince during the encore but the rest of the set was heavy with original pop masterpieces, any glittering gem of which could be single material.  I particularly liked “If We Sink”, the refrain promising “I’ll be on your side ’til you die / I’ll be on your side for all time”, the rhythms kinetic and the energy reminiscent of M83 (and yes, of The Knife’s early work, oft cited in direct comparison).

Immediately after the show ended, I wanted more.  I wanted to put on headphones and spend my train ride home listening again and again to songs that haven’t yet seen the light of day (unless you count the outside stages of SXSW, but I’m not speaking so literally here).  I saw my whole summer unfold and in it, I was dancing to Chvrches, unable to get enough.  If the sold-out crowds and legions of fans waiting patiently for Chvrches to make their next move are an indication, Chvrches will humbly provide for our cravings and I won’t be dancing alone.

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