sábado, septiembre 26, 2026

New Music: Waiting For Fisher

           

The Dublin post-punk band Gurriers released a new single and the video for "Waiting For Fisher" to land the same day as their second album, Nobody’s Coming To Save You, is out now. The title nods to two reference points at once — Samuel Beckett’s Waiting for Godot and the late cultural critic Mark Fisher, whose writing on capitalist realism has become something close to a touchstone for a certain strain of UK and Irish post-punk. Frontman Dan Hoff has said the song grew out of his friends’ frustrations with the working-day grind, and that context is audible in every bar of it: the guitars from Ben O'Neill and Mark MacCormack don't so much build as clock in and out, distorted and repetitive in a way that mirrors the routine it's complaining about, while Pierce Callaghan's drums keep pushing the tempo like a shift that won't end. The video has been shot by Director Thomas James who portrait a visceral, surreal, grenade of a satire.

New Music: Broken Heart

           

The Dutch iconic darkwave/goth band Clan Of Xymox has just released a brand new double AA "Broken Heart"/"Fire". it is the first new music by the group since the release of their "Exodus" album in mid-2024. Clan of Xymox co-founder and frontman Ronny Moorings describes "Broken Heart" as "a journey through heartbreak, desire and emotional combustion." Driven by haunting synths, a hypnotic pulse and melancholic vocals, his aim with the song was to capture the tension between losing someone and still being consumed by them. 

viernes, septiembre 25, 2026

New Music: The Centre Of My Everything

           

Shed Seven have released "The Centre Of My Everything", their latest single from their upcoming 7th., studio album. The eponymous LP, arrives on January 8, and it serves as the follow-up to their 2024 chart-topping albums "A Matter Of Time" and "Liquid Gold". On the track, lead singer Rick Witter says: That feeling when love is all there is, when two are entwined as one, when nothing else matters apart from the other, when you can’t imagine a life lived alone, when you truly think of someone as being ‘The Centre of My Everything'". The band also said in a separate statement: "We are excited to announce the imminent arrival of our seventh studio album which is eponymously titled Shed Seven to honour the fact. We have taken great care in making this album what we believe to be our best yet, and we hope these songs are taken to people’s hearts."

miércoles, septiembre 23, 2026

In Memoriam: Naked Eyes' "Peter Byrne" Dies Aged 74

Peter Byrne, the remain part of the new wave British band Naked Eyes has died on 14 September in Los Angeles, he was 74. Jim Merlis, a spokesperson for the group, confirmed Byrne’s death, adding that he died “peacefully … after a brief illness.” A specific cause of death was not immediately available.

Byrne and Rob Fisher, college friends from Bath, England, were first members of the band Neon, which included future Tears for Fears members Roland Orzabal and Curt Smith. Byrne and Fisher went on to become a duo, launching Naked Eyes in 1982, the year they also signed to EMI Records.

Their debut studio album, which was self-titled in the U.S. and Canada and called Burning Bridges elsewhere, arrived in 1983. The album rose up the charts, reaching Number 32 on the Billboard 200 on the strength of two of the album's hits: a cover of Burt Bacharach and Hal David's "Always Something There to Remind Me," which peaked at Number Eight on the Billboard 100, and "Promises, Promises," which reached Number 11 and imbued their signature synth-pop sound. The album’s "When the Lights Go Out" also became a Top 40 hi t and had heavy rotation on the early days of MTV.

The New Wave band recorded a sophomore album, Fuel for the Fire, in 1984. That, too, spawned a Top 40 hit with "(What) In The Name Of Love," and the album peaked at Number 83 on the Billboard 200 albums chart. They disbanded after its release.

In 1985, Byrne lent his vocals to back Stevie Wonder’s hit "Part-Time Lover" and went into songwriting for television, film, and for the Olsen Twins.

After Rob Fisher died in 1999 at the age of 42, Byrne continued to make music and toured the U.S. and internationally. In 2001, he release solo album, The Real Illusion. Additional Naked Eyes releases followed, including 2007’s Fumbling With the Covers, 2021’s Disguise the Limit, and a remaster of their self-titled debut arrived last year

Rocktrospectiva: The Underrated Odd Gem "Trompe Le Monde" Turns 35

 
Released on 23 September 1991—just a day before the iconic "Nevermind" and other sonic gems at the time—"Trompe Le Monde" was the fourth studio album by the US alternative rock band Pixies. Produced by Gil Norton, it was the band's final album before their breakup two years later and the last to feature the talents of founding bassist Kim Deal. Four magnificent singles were released from the album: "Planet of Sound," "Alec Eiffel," the incredible "Head On," and finally "Letter to Memphis"—with the Jesus & Mary Chain cover reaching No. 6 on the Billboard Modern Rock Tracks chart.

The story of this album—often underrated and arguably forgotten for various reasons—was complex; perhaps its sound was somewhat eccentric, or internal band tensions played a role (Kim Deal had simply had enough). Vocalist Francis sent a fax to everyone except Joey Santiago announcing the decision to end the band at that time—though, as we know, they later returned stronger than ever over the last decade and remain active, albeit without Deal. 
 
Another plausible reason for its obscurity is that it was released just a day before albums such like "Nevermind" or "Blood Sugar Sex Magik"; althought those records were also slow burners, they became inonic and effectively swallowing "Trompe Le Monde's" legacy and consigning it to oblivion. Very few people were familiar with "Trompe le Monde", and perhaps only in recent years the album finally received its due; while the band's earlier releases were monumental, this record holds its own against its illustrious predecessors. 
 
The band still sounded great here, experimenting with keyboards and leaning into a raw rock sound—albeit one somewhat hampered by Deal’s lack of creative input. Nevertheless, the album delivered rhythm, great guitar work, distortion, energy, vibe, and plenty of emotion. Standout tracks include those reflecting a fascination with ufology and science fiction—such as the aggressive, strident, hardcore-tinged "Space (I Believe In)"; the quirky "The Sad Punk," featuring a vocal performance where Black Francis sounds like a screaming asylum patient; and the vibrant "Alec Eiffel," reportedly written in honor of the Eiffel Tower's creator. Yet, the undisputed gem is their cover of The Jesus and Mary Chain’s "Head On"—a version that improved upon the original and was accompanied by an incredible music video that saw heavy rotation on MTV. 
 
There was also the obscene "U-Mass," where Francis unleashed his raunchiest side; the guitar-driven "Letter to Memphis"; "Motorway to Roswell," another track touching on the UFO phenomenon; and "The Navajo Know," which addressed the social issue of the mistreatment of the Navajo people. These tracks rounded out a great album that few understood at the time. 
 
While one might be tempted to blame Nirvana, Soundgarden, or the Red Hot Chili Peppers—who released their own albums around the same time—for overshadowing it, we must remember that the grunge phenomenon didn't happen overnight. However, once it exploded, it literally caused many things to be forgotten, and this album was undoubtedly one of them. 
 
Now, thirty five years later, we are rescuing it from obscurity and give it the honored place it deserves—regardless of whether it is considered the first album... ...Francis’s solo work due to Deal’s limited involvement in songwriting; however, one must not forget that the band was undoubtedly ahead of its time and laid the groundwork for the indie sound that would dominate the 90s—including "Nevermind", where one of the standout tracks, "Smells Like Teen Spirit," was in every sense a song clearly influenced by the Pixies.
 
Trompe Le Monde Track List: 
 
1. Trompe Le Monde
2. Alec Eiffel
3. Planet Sound
4. The Sad Punk
5. Head On
6. U-Mass
7. Palace Of The Brine
8. Letter To Memphis
9. Bird Dream Of The Olympus Mons
10. Space (I Believe In)
11. Subbacultcha
12. Distance Equals Rates Times Time
13. Lovely Day
14. Motorway To Roswell
15. The Navajo Know

martes, septiembre 22, 2026

The Anniversary/Television Personalities: The Unlikely And Unusual TV Show "ALF" Turns 40

 
Premiered on NBC on 22 September 1986, "ALF (Alien Life Form)" the furry alien named Gordon Shumway who crash-landed his spaceship into a suburban garage, then moved in with the Tanner family for the next 4 years. At the time, critics weren't sure what NBC was doing with its upcoming sitcom. Some medias described the new series as "ridiculous" and predicted it would fail, also targeted the lead character "ALF" as not cute enough to sustain the comedy.

ALF was a cretainly an unusual choice: a live-action sitcom about an ordinary family suddenly visited by an alien. He wasn't kindly or even cute, indeed, he was a crabby, cranky, and furry monster who was sarcastic, selfish, always scheming, and stuck in a suburban house with people who could not get rid of himbut in 1986, there was little else on television quite like it.

Making its eventual success even more remarkable was the difficult production. To accommodate the puppet, the set had to be raised four feet above the ground with trap doors cut into the stage. ALF was voiced and operated by puppeteer Paul Fusco, while 33-inch-tall actor Michu Meszaros wore a costume for full-body shots. The elaborate setup made "ALF" unusually time-consuming and expensive to produce, meaning the strange new sitcom needed viewers to embrace it quickly. Max Wright, who played family Father, Willie, was able to appreciate the series more fully years after it ended. "It doesn't matter what I felt or what the days were like," he said. "'ALF' brought people a lot of joy. They adored it."

But not everything seemed to work perfectly at the time, it was an exhausting show to produce, a 30-minute episode regularly took 20 to 25 hours to shoot. The cast spent entire days waiting while the puppet was repositioned, and the atmosphere on set reflected it. In a 2000 People magazine interview, the cast confirmed the set ran on constant, high tension. Max Wright, who played Willie Tanner, said of the show's end: "I was hugely eager to have it over with." For the shots that needed ALF’s full body on screen, walking or standing, the production used Michu Meszaros, a 33-inch-tall former Ringling Bros. circus performer from Hungary, uncredited in the role. Meszaros died in 2016 at 76. "It was a technical nightmare," Anne Schedeen, who played Kate and passed away in June 2026, told People in a 2000 interview. "Extremely slow, hot, and tedious. If you had a scene with ALF, it took centuries." 

The production was a grind unlike anything else on network television in the 1980s. ALF was an elaborate puppet operated primarily by creator Paul Fusco from beneath the set. Fusco controlled the mouth and right arm, Lisa Buckley operated the left arm, and Bob Fappiano ran the facial movements by radio control. The set itself was built on a platform raised four feet off the ground, with trap doors cut at many points so ALF could pop up almost anywhere.

Curiously, "ALF" became a hit, with NBC adding two extra episodes to Season 1 and quickly renewing it for a second season. Although the character was popular with kids, puppeteer Paul Fusco told The Tampa Tribune that the show's appeal extended to all ages. "Sure, children like the character, but there are jokes that go right over their heads," he said. Fusco added of ALF, "He says things we're all thinking but never have the nerve to say. He can get away with it because he's an alien." 

Co-created by Fusco and Tom Patchett, debuted to strong numbers and climbed from there. By its second season it was the 10th most-watched show on US television. It won the 1987 People's Choice Award for Favorite New TV Comedy Program and Favorite Show at the 1988 Kids' Choice Awards. The franchise machine followed immediately: a Saturday morning cartoon, ALF: The Animated Series, then a second animated spin-off, ALF Tales, and ALF's face on seemingly everything a store could stock. For about three years he was everywhere. 

The fourth season's final episode, "Consider Me Gone," originally aired on March 24, 1990. In it, the Alien Task Force, the military unit that spent four seasons hunting him, finally closes in. The series ends with ALF captured and the story unresolved. Fade to black. It was supposed to be continuation, not an ending, NBC had given the continuation for a fifth season, but then, the network withdrew its support, and the show was canceled with ALF in the hands of the government and no explanation coming. Six years later, ABC produced a TV movie called Project: ALF that seemed to be the continuation we expected but none of the original Tanner family cast appeared in it. 

The franchise kept trying. In 2004, TV Land gave the character his own talk show, ALF’s Hit Talk Show, with Ed McMahon as his sidekick, which is exactly what it sounds like. In August 2018, Warner Bros. announced a reboot but it was canceled three months later. The original four seasons have quietly migrated across every streaming platform that will have them just like any other sitcom has done so far, and believe it or not, the show still as popular as it was 40 years ago, thanks to streaming on different platforms such as Prime Video and Peacock, and free on Tubi, Plex, and The Roku Channel.

In summary, ALF was a weirdo, expensive, exhausting production that ran on the talent of one puppeteer and the patience of a cast that did not always have much patience left. It turn a furry creature into a stardom pop culture icon, despite the convivence on the set was awful, someway somehow the rating were high and real, but 40 years later we still watch the re-runs and keep talking about it.

Especial mention to the original cast we lost, John LaMotta & Liz Sheridan who played the nosy neighbours the Ochmonek both already died, Max Wright, who played Willie Tanner for all four seasons, died on June 26, 2019, at 75, of lymphoma. Anne Schedeen who played Kate Tanner for all four seasons, died on June 14, 2026 at 77.  Benji Gregory, who played the youngest Tanner, Brian, died on June 13, 2024, at 46, in Peoria, Arizona. The Maricopa County Medical Examiner ruled the death accidental, caused by hepatic cirrhosis and heat exposure. He was found with his service dog. And finally Michu Meszaros, the man inside the suit, died on June 12, 2016, at 76.

Film: David Lynch's Masterpiece "Blue Velvet" Turns 40

 
Released on 12 September in Toronto and then on 19 September in the USA in 1986, "Blue Velvet" the legendary neo-noir mystery thriller film written and directed by David Lynch is turning 40. The film stars Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, and Laura Dern, and is named after the 1951 song of the same name. The film follows a college student (MacLachlan) who returns to his hometown and discovers a severed human ear in a field, which leads him to uncover a criminal conspiracy involving a troubled nightclub singer (Rossellini).

Lynch's screenplay of Blue Velvet had been passed around multiple times in the late 1970s and early 1980s, with several major studios declining it due to its strong sexual and violent content. After the failure of his 1984 film Dune, Lynch made attempts at developing a more "personal story", somewhat characteristic of the surrealist style displayed in his first film Eraserhead (1977). The independent studio De Laurentiis Entertainment Group, owned at the time by Italian film producer Dino De Laurentiis, agreed to finance and produce the film.

The film cemented David Lynch's status as a visionary modern filmmaker and earned him his second Oscar nomination. The film achieved cult classic status, marked Dennis Hopper's return to the screen, and revitalized Isabella Rossellini's career as a dramatic actress, moving her beyond her work as a model and cosmetics spokesperson. 

Initially, however, expectations were low; Lynch was still reeling from the failure of the epic fantasy "Dune" (which, incidentally, is currently being remade). Producer De Laurentiis was reluctant to finance another Lynch film, but after reading the script, he decided to give the director another chance, setting in motion the complex, labyrinthine production of this cult classic. 

The film begins on a sweet, innocent note: elegant opening credits set against a blue velvet curtain, accompanied by the music of the great Angelo Badalamenti, followed by a shot of a blue sky and the first images—firefighters waving and a man suffering a seizure while watering his garden. The plot kicks off one morning when Jeffrey Beaumont—played by Kyle MacLachlan, one of Lynch's regular collaborators—makes a gruesome discovery after visiting his hospitalized father. He finds a human ear in the bushes and places it in a paper bag to take to the police station for analysis. 

This sets off a chain of events revealing a series of bizarre occurrences in Lumberton, a rural North Carolina town—a setting that perhaps served as inspiration for Lynch's later work on the series "Twin Peaks". The film is brilliant; it blends elements of 1950s film noir, exploits the femme fatale archetype, presents a powerful and sinister villain, offers Lynch's twisted vision, and provides a voyeuristic perspective. The scene where Vallens is raped by Frank Booth is deeply disturbing—not to mention the wild, macabre joyride where Jeffrey is forcibly taken along by Frank. Just before that sequence, they perform "In Dreams"—an iconic Orbison track that found a new lease on life through the film. 

Ultimately, the movie became so essential to the 1980s that it is a staple of any discussion regarding influential films of that era. Its strangeness is matched only by the curiosity of my first viewing experience: a Thursday night back in 1992 on broadcast television, completely uncensored—something that would be very hard to find today, especially given the lackluster state of broadcast TV now. 

Blue Velvet initially received a divided critical response,with many stating that its explicit content served little artistic purpose. Nevertheless, the film earned Lynch his second nomination for the Academy Award for Best Director, and received the year's Best Film and Best Director prizes from the National Society of Film Critics. It came to achieve cult status. As an example of a director casting against the norm, it was credited for revitalizing Hopper's career and for providing Rossellini with a dramatic outlet beyond her previous work as a fashion model and a cosmetics spokeswoman.

In the years since, the film has been re-evaluated, and is widely regarded as one of Lynch's masterpieces. and is frequently cited as one of the greatest films of the 1980s. Publications including Sight and Sound, Time, Entertainment Weekly and BBC Magazine have ranked it among the greatest American films of all time. In 2008, it was chosen by the American Film Institute as one of the ten greatest American mystery films.

Rocktrospectiva: Pet Shop Boys' Top Ten Single "Suburbia" Turns 40

Released on 22 September 1986 "Suburbia" was a song by English synth-pop duo Pet Shop Boys from their debut album, Please. It was re-recorded with producer Julian Mendelsohn for release as the fourth single from the album. Peaking at number eight on the UK Singles Chart, "Suburbia" was the band's second top 10 hit after "West End Girls", and in their view it saved them from becoming a one-hit wonder.

The song's primary inspiration was the 1983 Penelope Spheeris film Suburbia, and its depiction of violence and squalor in the suburbs of Los Angeles. The recent events of the Brixton riots of 1981 and of 1985 were another influence. The lyrics convey the boredom of suburbia ("I only wanted something else to do but hang around") and the underlying tension among disaffected youth. The music is punctuated by sounds of suburban violence, riots, and smashing glass, along with barking dogs—a motif derived from scenes in Spheeris's film.

"Suburbia" was written in 1985 at Terminal Studios in London. Chris Lowe composed the music; according to him, the bassline was inspired by Madonna's hit song of that time, "Into the Groove". Neil Tennant wrote the lyrics afterwards. They added car crash samples from an Emulator and riot noises from a film. The duo did not have time to rework the track during the 10-week recording session for Please, and the album version is essentially a polished version of their demo.

A completely new version was made for the single, using barking dogs recorded at Battersea Dogs & Cats Home, audio of riots obtained from the BBC, and real breaking glass. Julian Mendelsohn brought in Fairlight programmer Andy Richards, who created a horn section sound with the synth line. Gary Barnacle played saxophone on the track. The single version is an edit of a longer piece called "Suburbia (The Full Horror)", which includes a spoken word segment with the refrain, "Suburbia, where the suburbs met utopia…", and ends in a series of explosions.

Pet Shop Boys had thought that their career might be on a downward trajectory when "Love Comes Quickly", the follow-up single to their number one hit "West End Girls", only reached 19 on the UK Singles Chart, but "Suburbia" alleviated those concerns. 

"Suburbia" was released on 22 September 1986. It spent four weeks in the top 10 of the UK Singles Chart, with two weeks at its peak position of number eight. The duo promoted the single heavily in Europe, where it received widespread radio airplay. In West Germany, "Suburbia" was in the top 10 for nine weeks from 10 November 1986 to 12 January 1987; its peak position was number two, which it held for four weeks. The song was also a top 10 hit in Belgium, the Netherlands, Spain, Ireland, Switzerland, New Zealand, Sweden, and Austria.

The B-side of the 7-inch single had Lowe's first lead vocal appearance, "Paninaro". A 7-inch EP in a double pack sleeve, limited to 25,000 copies, came with the standard single on one disc and a Shep Pettibone remix of "Love Comes Quickly" backed with "Jack the Lad" and the short edit "Suburbia Part 2" on the other. "Suburbia (The Full Horror)" was released as a 12-inch single and is also on Disco and the reissue Please: Further Listening 1984–1986.

The 7-inch version of "Suburbia" has been included on the compilation albums Discography: The Complete Singles Collection, Ultimate, and Smash: The Singles 1985–2020. PopArt: The Hits includes the "Video Mix" from the music video, which has an intro featuring the spoken word refrain.

Two remixes of "Suburbia" by Arthur Baker, the "Club Vocal Mix" and the "Dub Mix", were originally used on a promotional 12-inch EP. In 2023, both remixes were released by Pet Shop Boys as digital downloads, and the "Club Vocal Mix" was included on Arthur Baker: The Classic Dance Remixes from Baker's Dance Masters series.

The sleeves for the single were designed by Mark Farrow with photos by Eric Watson. The standard 7-inch single (pictured) has a motion-blurred image of Tennant holding Lowe in a headlock. The main 12-inch single has a selenium-toned portrait of Lowe wearing a striped Poshboy shirt and a pair of Issey Miyake shutter sunglasses. Farrow won a Design and Art Direction silver award for the 12-inch sleeve, and Watson's portrait of Lowe is in the Photographs Collection of the National Portrait Gallery, London.

The video was directed by Eric Watson and features footage of the duo in a Los Angeles suburb, while they were there for that year's MTV Video Music Awards, and a contrasting image of British suburbia, filmed in Kingston-upon-Thames, a suburb of south-west London. It opens with the barking dog motif in an extended "Video Mix" of the song, and dogs appear throughout. Tennant and Lowe are shown walking in the streets among the residents and sitting on a sofa in a house full of unpacked boxes, which represent sudden wealth and the acquisition of things that haven't been used, according to Watson.

Suburbia Track List: 

7-inch: Parlophone / R 6140 (UK)
 
1. Suburbia
2. Paninaro
  
2×7-inch: Parlophone / RD 6140 (UK)
 
1. "Suburbia" 
2.  "Paninaro" 
3.  "Love Comes Quickly" [Shep Pettibone Mastermix] (Early Fade) 
4.  "Jack the Lad" 
5.  "Suburbia Pt. Two" 
 
MC: Parlophone / TC R 6140 (UK)
 
1. "Suburbia" 
2.  "Paninaro" 
3.  "Jack the Lad" 
4.  "Love Comes Quickly" [Shep Pettibone Mastermix]
 
MC: Parlophone / TR 6140 (UK)
 
1. "Suburbia" (The Full Horror) 
2.  "Paninaro"
3.  "Jack the Lad" 
4.  "Love Comes Quickly" [Shep Pettibone Mastermix] (Even Earlier Fade) 
 
12-inch: Parlophone / 12 R 6140 (UK)
 
1. "Suburbia" (The Full Horror) 
2.  "Paninaro" 
3.  "Jack the Lad" 
 
12-inch: EMI America / V-19226 (US)
 
1.  "Suburbia" (The Full Horror)
2.  "Suburbia" (7-inch version) 
3.  "Jack the Lad"

lunes, septiembre 21, 2026

Rocktrospectiva: The Neo-Psychedelic "Express" Turns 40

 
Released on 15 September 1986 "Express" was the 2nd., studio album by English rock band Love and Rockets. It was an even greater departure from the band members' previous work as Bauhaus, the album's fusion of underground rock with pop stylings can be seen as an early example of alternative rock music, a genre that reached mainstream popularity in the early 1990s, the album spawned the singles "All In My Mind", "Kundalini Express" & "Yin and Yang (The Flowerpot Man)."

Back in 1985, the debut album from Love And Rockets The Seventh Dream of Teenage Heaven, showed a more diverse side of guitarist Daniel Ash, bassist David J. and drummer Kevin Haskins than had been on display in Bauhaus or Tones on Tail. They kept mixing psychedelia, pop and vintage glam on their second album.

From the opening notes of "It Could Be Sunshine," the band seemed tighter and more focused than on Seventh Dream. The song floated in and continues to build, finally being unleashed as they kick into high gear on the chorus. Chaotic guitars and David Bowie-inspired vocals shimmered atop the urgent rhythm. "Kundalini Express," the album's first single, follows and is a full-on T. Rex-inspired glam stomper, with a sexy, slithering guitar riff. The b-side included a cover of Pink Floyd's early classic "Lucifer Sam," showing off another of the band's influences. The first time we were really exposed to music, when we were of an age we could really appreciate it, and were like little sponges, was Bowie, T. Rex, the glam thing, but like the cream of the glam, as it were," explained David J. in a 2015 interview.

"All in My Mind," the second single from the album, was a haunting beauty of a pop song. The strong melody and catchy chorus are miles away from any Goth connections to their previous life. It's very much a pure '60s-influenced pop song set in the mid-'80s, but unlike so many records of the era, the production by John Rivers was more organic and sympathetic to the music instead of overshadowing at the time. It is probably that the single "Yin & Yan (The Flowerpot Man)" was inspired by the U.K. children's show The Flower Pot Men, another highlight on the record thanks to the acoustic guitar-driven rocker was the third single released from the album and remains one of the band's finest moments, since then Express became a huge favorite on college radio in the US, and cemented their reputation as one of the era's finest U.K. offerings.

Critics praised the album and considered  it rich in sonic details and the neo-psychedelic Express offers a listening experience like no other album – guitars spiral to dizzying heights from beds of sound, arrangements swirl, songs change and mutate.
 
Express Track List: 
 
1. It Could Be Shunshine
2. Kundalini Express
3. All In My Mind
4. Life In Laralay
5. Yin And Yang (The Flowerpot Man)
6. Love Me
7. All In My Mind (Acoustic)
8. An American Dream

domingo, septiembre 20, 2026

New Music: Ask For Water

           

Matt Berninger, the leader and voice of The National, has released his new EP, Type It Up, digitallya couple of days ago through Book/Concord Records. The collection features three original songs and two covers, with a vinyl edition available on December 4, including a bonus acoustic live recording. The lead track, "Ask For Water," has an accompanying music video directed by Berninger's collaborator, Chris Sgroi. This EP follows Berninger’s critically acclaimed album Get Sunk, released last year.