New Track: Moor Mother – ‘Guilty’

Following critical acclaim for her 2021 album Black Encyclopedia Of The Air, innovative artist Camae Ayewa – aka Moor Mother – has now announced the release of her 9th studio album, The Great Bailout.

Our first taste of the album comes in the form of new single ‘Guilty‘, a collaboration with Lonnie Holley, Mary Lattimore and Raia Was. Oozing a mystical energy, it encapsulates the sentiment of the album – a poignant and necessary message, bringing to our attention crimes committed by our ‘fair isle’. With a glistening splendour, layers of chiming instrumentation swirl together with vocals, intertwining to create a truly stirring anthem. As its whirring musicality provides a backdrop to lists of ‘great’ Britain’s injustices against humanity and the harsh realities of colonialism, the juxtaposition of the horror of ‘Guilty’s message with the beauty of its musicality is stark. At over ten minutes long, I urge you to immerse yourself in this hauntingly beautiful offering; one that we need to pay heed to, now more than ever. An urgent message encased in an evocative sonic grace.

Of the track, Ayewa explains:

“Displacement and its effects are not discussed enough… The PTSD of displacement should be a focus, and as we have the opportunity to learn about things happening in the world, we also have the opportunity to learn about ourselves. We’ve been through so many different acts of systematic violence.“

Watch the affecting lyric video now:


The Great Bailout, the ninth album from Moor Mother, is set for release on 8th March via ANTI-. Pre-order here. Catch Moor Mother live in London or Bristol in March, info and tickets here.


Mari Lane
@marimindles

Photo Credit: Ebru Yildiz

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NEW TRACK: Fears – ‘4th of the 1st’

A poignant reflection on emotional resilience and self-soothing, Dublin-born, London-based interdisciplinary artist Constance Keane aka Fears has shared her latest single, ‘4th of the 1st’. Taken from her newly announced second album, affinity, which is set for release on 22nd March via TULLE, the track is a delicate blend of soft vocals and hypnotic synth loops that delicately dismantle the duplicitous and intrusive thoughts that follow in the aftermath of a complicated breakup.

On her debut album Oíche, Fears balanced her intense ruminations on trauma alongside dainty synth loops and tentative beats to shine a light on a personal metamorphosis. On her upcoming album, affinity, she continues to create emotive, elegant and enlightening soundscapes, but this time she spotlights the ability to find peace in the often chaotic settings around her. Written and recorded between London, New York, and Dublin, across 10 tracks she shares stories of human connection in its strongest and most fragile forms, something which her new single ‘4th of the 1st’ beautifully highlights.

Fears gives more context to ‘4th of the 1st’, which is inspired by a phone call she had on the same date back in 2022: “It’s about checking in with yourself and reassuring yourself after an experience with someone who denies what you know to be true of your time together,” she explains. “I think it’s unfortunately a pretty common thing to have someone tell you how much they’re into you and then decide that they actually never said that when they’ve changed their mind. I’ve experienced it a few times anyway, so I wanted to write a song for myself to say ‘no you DID actually say that, I didn’t make it up’.”

The single is accompanied by a video, directed and edited by Fears and filmed by Colleen Lee. The visuals aim to subtly highlight the “trust and bond that can be found in sisterhood,” and poetically depicts how women proactively signal to other women information that could help to keep them safe.

Watch the video for ‘4th of the 1st’ below.

Pre-order Fears upcoming album, affinity, here

Follow Fears on bandcamp, Spotify, Instagram, Twitter (X) & Facebook
Follow TULLE on Instagram & Twitter (X)

Photo Credit: Niamh Barry

Kate Crudgington
@KCBobCut

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NEW TRACK: Chelsea Wolfe – ‘Everything Turns Blue’

A shadowy rumination on the convoluted process of healing from an unhealthy relationship, Chelsea Wolfe has shared her latest single ‘Everything Turns Blue’. Taken from her upcoming seventh album, She Reaches Out To She Reaches Out To She, which is set for release via Loma Vista on 9th February 2024, the track is a hypnotic blend of compelling vocals, brooding keys and brittle beats which reflect the aching sincerity of true self-liberation.

Following on from her previous singles ‘Dusk’, ‘Whispers In The Echo Chamber‘ and ‘Tunnel Lights’, Wolfe’s new track continues her narrative of recovery, rediscovering self autonomy, and redefining what resilience both looks and sounds like. ‘Everything Turns Blue’ is about “finding yourself again after a long era of being part of something toxic,” she explains. “Making a split with someone after 10 years, 20 years, 30 years — there’s going to be some high highs and low lows as you begin to process it all.” Wolfe captures these emotional fluctuations succinctly in her lyrics. “What do I have to do to heal you out of me?” she questions throughout the track, before ultimately emerging from the shadows feeling stronger and more self assured.

Wolfe describes her upcoming album She Reaches Out To She Reaches Out To She as “a rebirth”, breaking the physical and emotional chains that once prohibited this cathartic process. “It’s a story of freeing yourself from situations and patterns that are holding you back in order to become self-empowered,” she explains in more detail. It’s “an invitation to step into your authenticity,” and as she poetically concludes: “like the dark moon, that void space can feel unpredictable and looming, but it also holds so much potential, mystery, and excitement.”

Watch the video for ‘Everything Turns Blue’ below.

Pre-order Chelsea Wolfe’s new album She Reaches Out To She Reaches Out To She here

Follow Chelsea Wolfe on bandcamp, Spotify, Instagram, Facebook & Tik Tok

Photo credit: Ebru Yildiz

Kate Crudgington
@KCBobCut

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NEW TRACK: Kim Gordon – ‘BYE BYE’

An eclectic combination of dense beats, brooding basslines, grinding reverb and spoken word, renowned musician and visual artist Kim Gordon has shared her new single, ‘BYE BYE’. The track serves as an introduction to her newly announced second solo record, The Collective, which is set for release on 8th March via Matador Records.

Following on from her 2019 debut solo album No Home Record, on The Collective, Gordon has retained her idiosyncratic style, remaining as curious, eclectic and ambiguous across each of the eleven tracks. Recorded in Los Angeles, Gordon continued to collaborate with producer Justin Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor) on the new record, with additional production from Anthony Paul Lopez. Together, they have captured a rumbling, intoxicating sense of unease which is translated both sonically and visually – something which permeates new cut ‘BYE BYE’.

Accompanied by a video directed by photographer and filmmaker Clara Balzary, and starring Gordon’s daughter Coco Gordon Moore, ‘BYE BYE’ is an exciting preview of what’s to come from a musician who immerses herself wholly into all of her creations. The track and album also accompanied by words from English artist Josephine Pryde, who offers poetic context to Gordon’s debut and upcoming solo record:

“There was a space in Kim Gordon’s No Home Record. It might not have been a home and it might not have been a record, but I seem to recall there was a space. Boulevards, bedrooms, instruments were played, recorded, the voice and its utterances, straining a way through the rhythms and the chords, threaded in some shared place, we met there, the guitar came too, there fell a peal of cymbals, driving on the music. We listened, we turned our back to the walls, slithered through the city at night. Kim Gordon’s words in our ears, her eyes, she saw, she knew, she remembered, she liked. We were moving somewhere. No home record. Moving.

Now I’m listening to The Collective. And I’m thinking, what has been done to this space, how has she treated it, it’s not here the same way, not quite. I mean, not at all. On this evidence, it splintered, glittered, crashed and burned. It’s dark here… Haunted by synthesised voices bodiless. Planes of projections. Mirrors get your gun and the echo of a well-known tune, comes in liminal, yet never not hanging around, part of the atmosphere, fading in and out, like she says – Grinding at the edges. Grinding at us all, grinding us away. Hurting, scraping. Sediments, layers, of recorded emissions, mined, twisted, refracted. That makes the music. This shimmering, airless geology, agitated, quarried, cries made in data, bounced down underground tunnels, reaching our ears. We recalled it – but not as a memory, more like how you recall a product, when it’s flawed…

…I would say that Kim Gordon is thinking about how thinking is, now. Conceptual artists do that, did that. “I Don’t Miss My Mind.” The record opens with a list, but the list is under the title “BYE BYE.” The list says milk thistle, dog sitter…. And much more. She’s leaving. Why is the list anxious? How divisive is mascara? It’s on the list. I am packing, listening to the list. Is it mine, or hers. She began seeking images from behind her closed eyes. Putting them to music. But I need to keep my eyes open as I walk the streets, with noise cancelled by the airbuds rammed in my ears. quiet, aware, quiet, aware, they chant at me. What could be going through Kim’s head as she goes through mine?”

Follow Kim Gordon on bandcamp, Spotify, Instagram, Twitter (X) & Facebook

Photo Credit: Danielle Neu

Kate Crudgington
@KCBobCut

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