Alexander Laurence's Blog, page 28
August 25, 2025
BEYOND THE STREETS PRESENTS LET THERE BE GWAR
BEYOND THE STREETS PRESENTS LET THERE BE GWAR
A Monumental Retrospective Celebrating Four Decades (40 years!) of Intergalactic Chaos
Curated by Bob Gorman & Roger Gastman
Opening September 12 - November 2, 2025 | FREE ENTRY
Beyond The Streets - 434 N La Brea Ave, Los Angeles, CA
Step inside 40 years of DIY insanity:
Original costumes, props & instruments
Giant spew tanks & stage relics
Video installations, rare artwork & ephemera
Every inch transformed into GWAR’s outrageous universe
LOS ANGELES, CA - BEYOND THE STREETS proudly announces LET THERE BE
GWAR, a sprawling retrospective showcasing the 40-year legacy of the legendary art
collective and shock rock band, GWAR. Opening September 12 and running through
November 2, 2025, this exhibition is a free-to-attend deep dive into the outrageous
universe that GWAR has spent four decades constructing through music, performance,
and subversive visual art.
Born from a group of punk musicians and visual artists working out of an abandoned
dairy building in Richmond, Virginia, GWAR emerged in 1984 as a hybrid of heavy metal
theater and absurdist sci-fi mythology. Hunter Jackson, a VCU student crafting costumes
for his film Scumdogs of the Universe, joined forces with musician Dave Brockie, and what began as a one-off stunt evolved into a full-blown, blood-splattered empire of art, performance and chaos.
LET THERE BE GWAR chronicles this intergalactic saga through the most
comprehensive assembly of GWAR artifacts ever seen. The exhibition features:
Handcrafted costumes, instruments, weaponry, and stage props, video installations,
monumental set pieces and spew tanks, a monster toilet, artwork, and rare ephemera.
Every square inch of the gallery transformed into the GWAR universe.
With characters like Oderus Urungus, Techno-Destructo, BälSäc The Jaws of Death,
Beefcake The Mighty, Slymenstra Hymen, Jizmak Da Gusha, Berserker Blothar, and
even a crack-addicted T-Rex named Gor-Gor, just to name a few… the band has not
only carved out its niche but obliterated expectations for what a musical performance
can be.
“For 40 years GWAR have mounted a misanthropic critique of American culture dressed
up as shock rock. This collection of artifacts offers a sense of the unique punk inspired
anti-art aesthetics of underground comics, science fiction fandom, role-playing games,
and satirical splatter flick nerdishness at the heart of the band.” Says GWAR.
GWAR's legacy includes two Grammy nominations, appearances on Late Night with
Jimmy Fallon, NPR's Tiny Desk Concert, TEDx, Beavis and Butt-Head, video games,
comic books, and even a GWAR-themed bar in their hometown. With millions of concert
tickets sold and dozens of self-produced films and documentaries, their cultural footprint
extends far beyond music.
“This isn’t just a music exhibition,” says curator Roger Gastman. “GWAR represents one
of the most successful long-term art collectives in American culture, and their influence
on both underground and mainstream entertainment is undeniable. They came to
destroy... and ended up creating something eternal.”
LET THERE BE GWAR is a celebration of DIY creativity, artistic rebellion, and
collaborative world-building. Whether you’re a lifelong Bohab (GWAR fan) or simply
curious about a band that makes splattering the audience with blood (is it fake?),
tasteless jokes, decapitations of world leaders and pop stars and aliens’ part of their live
set, this is the definitive gateway into the wild, weird, and wonderful world of GWAR.
Along with the exhibition BEYOND THE STREETS and GWAR will be releasing a co-
branded collection. Including a new expanded version of the sold out 400-page book –
LET THERE BE GWAR that comes with a limited edition 7” record, a collection book of
GWARS classic Mind Control Monthly newsletter, apparel, limited edition prints and
much more.
BEYOND THE STREETS PRESENTS LET THERE BE GWAR
BEYOND THE STREETS PRESENTS LET THERE BE GWAR
A Monumental Retrospective Celebrating Four Decades (40 years!) of Intergalactic Chaos
Curated by Bob Gorman & Roger Gastman
Opening September 12 - November 2, 2025 | FREE ENTRY
Beyond The Streets - 434 N La Brea Ave, Los Angeles, CA
Step inside 40 years of DIY insanity:
Original costumes, props & instruments
Giant spew tanks & stage relics
Video installations, rare artwork & ephemera
Every inch transformed into GWAR’s outrageous universe
LOS ANGELES, CA - BEYOND THE STREETS proudly announces LET THERE BE
GWAR, a sprawling retrospective showcasing the 40-year legacy of the legendary art
collective and shock rock band, GWAR. Opening September 12 and running through
November 2, 2025, this exhibition is a free-to-attend deep dive into the outrageous
universe that GWAR has spent four decades constructing through music, performance,
and subversive visual art.
Born from a group of punk musicians and visual artists working out of an abandoned
dairy building in Richmond, Virginia, GWAR emerged in 1984 as a hybrid of heavy metal
theater and absurdist sci-fi mythology. Hunter Jackson, a VCU student crafting costumes
for his film Scumdogs of the Universe, joined forces with musician Dave Brockie, and what began as a one-off stunt evolved into a full-blown, blood-splattered empire of art, performance and chaos.
LET THERE BE GWAR chronicles this intergalactic saga through the most
comprehensive assembly of GWAR artifacts ever seen. The exhibition features:
Handcrafted costumes, instruments, weaponry, and stage props, video installations,
monumental set pieces and spew tanks, a monster toilet, artwork, and rare ephemera.
Every square inch of the gallery transformed into the GWAR universe.
With characters like Oderus Urungus, Techno-Destructo, BälSäc The Jaws of Death,
Beefcake The Mighty, Slymenstra Hymen, Jizmak Da Gusha, Berserker Blothar, and
even a crack-addicted T-Rex named Gor-Gor, just to name a few… the band has not
only carved out its niche but obliterated expectations for what a musical performance
can be.
“For 40 years GWAR have mounted a misanthropic critique of American culture dressed
up as shock rock. This collection of artifacts offers a sense of the unique punk inspired
anti-art aesthetics of underground comics, science fiction fandom, role-playing games,
and satirical splatter flick nerdishness at the heart of the band.” Says GWAR.
GWAR's legacy includes two Grammy nominations, appearances on Late Night with
Jimmy Fallon, NPR's Tiny Desk Concert, TEDx, Beavis and Butt-Head, video games,
comic books, and even a GWAR-themed bar in their hometown. With millions of concert
tickets sold and dozens of self-produced films and documentaries, their cultural footprint
extends far beyond music.
“This isn’t just a music exhibition,” says curator Roger Gastman. “GWAR represents one
of the most successful long-term art collectives in American culture, and their influence
on both underground and mainstream entertainment is undeniable. They came to
destroy... and ended up creating something eternal.”
LET THERE BE GWAR is a celebration of DIY creativity, artistic rebellion, and
collaborative world-building. Whether you’re a lifelong Bohab (GWAR fan) or simply
curious about a band that makes splattering the audience with blood (is it fake?),
tasteless jokes, decapitations of world leaders and pop stars and aliens’ part of their live
set, this is the definitive gateway into the wild, weird, and wonderful world of GWAR.
Along with the exhibition BEYOND THE STREETS and GWAR will be releasing a co-
branded collection. Including a new expanded version of the sold out 400-page book –
LET THERE BE GWAR that comes with a limited edition 7” record, a collection book of
GWARS classic Mind Control Monthly newsletter, apparel, limited edition prints and
much more.
The Berries release "White Peach / Wind Chime" singles - S/T album out Friday
The Berries Release New Singles
“White Peach” / “Wind Chime”
S/T Album Out Friday, August 29 - Pre-Order / Pre-Save
By Ajalena Dewolf Moura
The Berries (Matthew Berry) shares dual single “White Peach” / “Wind Chime” just ahead of releasing his S/T album, out this Friday. The album is a pure return to form – Berry’s strongest take yet on the hallowed tradition of the guitar-wielding singer-songwriter. Lyrically, Berry has perfected the art of crafting seemingly personal and yet decidedly ambiguous prose. “White Peach” plays up the underlying instrumental’s nervous energy with images of bathroom-psychosis, which are delivered in an omnisciently demonic drawl while “Wind Chime” repackages his signature approach to folk-inflected guitar work into charmingly upbeat bursts of pop exuberance.
Listen / Share / Playlist “White Peach / Wind Chime” Here
The Berries masterfully engages the iconic sentiments of naked Americana, chemical winds whistling over barley shafts, longing-swollen livers and pleading romance, yet suffuses them with a strikingly rich melancholy that is Berry’s alone. Berry attempts to reclaim some sense of a life worth living in this aftermath, clawing towards a personal faith that can only be found on the other side of an extended battle with the nihilism and self-destruction of our era.
As he puts it, “This record came out of a need to break from my old self, to break from a lifestyle that I could no longer bear waking up to everyday. It’s equally fueled by remorse and relief—I can rejoice a bit in having found a renewed purpose, but I had to finally stare down everything that was standing in the way of that sense of dignity first.”
Structurally, The Berries follows in the footsteps of a long lineage of studio-centered pop songcraft, from the comedown genius of Tusk-era Fleetwood Mac to the reverb forests of The War on Drugs. The tracks progress like a series of vignettes, displaying a rare sense of artistic confidence in their willingness to depart from established song-structure conventions—Berry writes impressionistically, always working in service of the spiritual heart of each song, foregrounding each track’s individual character over its ability to fit the mold of accepted genre convention.
The Berries have taken many shapes over the years. The band began as a series of bedroom project odes to cosmic Americana and fuzzy guitar heroics, which quickly landed Berry a multi-record deal with Run for Cover Records on the strength of his straightforward songwriting ingenuity. Over the years, Berry has assembled a rotating series of proper live and studio bands, who have accompanied him on previous record-length wanderings through country-inflected balladeering (Berryland), distorted, stadium-sized melodrama (Throne of Ivory), and Californian burn-out pop (High Flying Man). On The Berries, however, Berry has fully realized his talents as a self-made studio auteur. The songs emerged rather quickly over a series of intensive writing sessions in the early months of 2025 and were studiously laid to tape that same summer at the home studio of engineer Jimmy Dixon, who also co-produced the record alongside Berry.
After his previous full-length outing, Berry found himself incapable of committing new Berries songs to paper for a number of years, focusing his efforts instead on a string of other projects, including touring with Hotline TNT, his own band Big Bite, and recording material for two new groups, a fuzzed-out rock band titled RAM and a delicately folky acoustic duo dubbed Drug Addict. Ironically, it was only through running headfirst into these other projects that Berry found himself finally able to return to The Berries with a new sense of purpose—as he recounts it, “The Berries had become too many things in one, it had become too unwieldy for me to figure out. By creating other bands that let me clear out some of the ideas that were nagging me, I was able to come back to a simpler understanding of what I’ve always wanted The Berries to be: guitar focused singer-songwriter music with grandiose arrangements and minimal, deeply personal lyrics.” Berry and Dixon were joined in the studio by a formidable cast of longtime friends, including Narrow Head’s Kora Puckett, studio drummer Bryan De Leon (The Drums, Ethel Cain), Color Green’s Corey Madden, and poet / musician Julia Lans Nowak, each of whom contributed to the record’s baroque yet precisely streamlined backing tracks and harmonies.
These songs offer no illusions of being able to undo the bleak confusion of their moment, nor do they attempt to wildly reinvent any longstanding pillars of guitar music sheerly for the sake of novelty. Rather, like all great songwriters, Berry has simply tried to rediscover a place for himself in this world, somewhere that might live up to all the grand promises implied by words like faith, beauty, and belief. At its best, The Berries can count itself amongst the ranks of those rare records that exist to remind us that we aren’t the only ones searching for something greater to believe in—records that exist to remind us that we aren’t alone in our disillusionment, but rather hopelessly together in our desires for a life more worthy of the title of living.
The Berries release "White Peach / Wind Chime" singles - S/T album out Friday
The Berries Release New Singles
“White Peach” / “Wind Chime”
S/T Album Out Friday, August 29 - Pre-Order / Pre-Save
By Ajalena Dewolf Moura
The Berries (Matthew Berry) shares dual single “White Peach” / “Wind Chime” just ahead of releasing his S/T album, out this Friday. The album is a pure return to form – Berry’s strongest take yet on the hallowed tradition of the guitar-wielding singer-songwriter. Lyrically, Berry has perfected the art of crafting seemingly personal and yet decidedly ambiguous prose. “White Peach” plays up the underlying instrumental’s nervous energy with images of bathroom-psychosis, which are delivered in an omnisciently demonic drawl while “Wind Chime” repackages his signature approach to folk-inflected guitar work into charmingly upbeat bursts of pop exuberance.
Listen / Share / Playlist “White Peach / Wind Chime” Here
The Berries masterfully engages the iconic sentiments of naked Americana, chemical winds whistling over barley shafts, longing-swollen livers and pleading romance, yet suffuses them with a strikingly rich melancholy that is Berry’s alone. Berry attempts to reclaim some sense of a life worth living in this aftermath, clawing towards a personal faith that can only be found on the other side of an extended battle with the nihilism and self-destruction of our era.
As he puts it, “This record came out of a need to break from my old self, to break from a lifestyle that I could no longer bear waking up to everyday. It’s equally fueled by remorse and relief—I can rejoice a bit in having found a renewed purpose, but I had to finally stare down everything that was standing in the way of that sense of dignity first.”
Structurally, The Berries follows in the footsteps of a long lineage of studio-centered pop songcraft, from the comedown genius of Tusk-era Fleetwood Mac to the reverb forests of The War on Drugs. The tracks progress like a series of vignettes, displaying a rare sense of artistic confidence in their willingness to depart from established song-structure conventions—Berry writes impressionistically, always working in service of the spiritual heart of each song, foregrounding each track’s individual character over its ability to fit the mold of accepted genre convention.
The Berries have taken many shapes over the years. The band began as a series of bedroom project odes to cosmic Americana and fuzzy guitar heroics, which quickly landed Berry a multi-record deal with Run for Cover Records on the strength of his straightforward songwriting ingenuity. Over the years, Berry has assembled a rotating series of proper live and studio bands, who have accompanied him on previous record-length wanderings through country-inflected balladeering (Berryland), distorted, stadium-sized melodrama (Throne of Ivory), and Californian burn-out pop (High Flying Man). On The Berries, however, Berry has fully realized his talents as a self-made studio auteur. The songs emerged rather quickly over a series of intensive writing sessions in the early months of 2025 and were studiously laid to tape that same summer at the home studio of engineer Jimmy Dixon, who also co-produced the record alongside Berry.
After his previous full-length outing, Berry found himself incapable of committing new Berries songs to paper for a number of years, focusing his efforts instead on a string of other projects, including touring with Hotline TNT, his own band Big Bite, and recording material for two new groups, a fuzzed-out rock band titled RAM and a delicately folky acoustic duo dubbed Drug Addict. Ironically, it was only through running headfirst into these other projects that Berry found himself finally able to return to The Berries with a new sense of purpose—as he recounts it, “The Berries had become too many things in one, it had become too unwieldy for me to figure out. By creating other bands that let me clear out some of the ideas that were nagging me, I was able to come back to a simpler understanding of what I’ve always wanted The Berries to be: guitar focused singer-songwriter music with grandiose arrangements and minimal, deeply personal lyrics.” Berry and Dixon were joined in the studio by a formidable cast of longtime friends, including Narrow Head’s Kora Puckett, studio drummer Bryan De Leon (The Drums, Ethel Cain), Color Green’s Corey Madden, and poet / musician Julia Lans Nowak, each of whom contributed to the record’s baroque yet precisely streamlined backing tracks and harmonies.
These songs offer no illusions of being able to undo the bleak confusion of their moment, nor do they attempt to wildly reinvent any longstanding pillars of guitar music sheerly for the sake of novelty. Rather, like all great songwriters, Berry has simply tried to rediscover a place for himself in this world, somewhere that might live up to all the grand promises implied by words like faith, beauty, and belief. At its best, The Berries can count itself amongst the ranks of those rare records that exist to remind us that we aren’t the only ones searching for something greater to believe in—records that exist to remind us that we aren’t alone in our disillusionment, but rather hopelessly together in our desires for a life more worthy of the title of living.
August 22, 2025
TOPS releases new album 'Bury The Key' via Ghostly International
TOPS RELEASES NEW ALBUM BURY THE KEY OUT NOW VIA GHOSTLY INTERNATIONAL
SHARES "CALL YOU BACK" MUSIC VIDEO
EMBARKING ON TOUR IN SEPTEMBER
TOPS by Nori Rasussen-Martinez
“Montreal indie pop institution”
EXCLAIM!
“The band's soft-rock jangle beckon[s] us to get with the times no matter what side of the generation line you fall on.”
NPR
“Near-perfect songwriting”
Pitchfork
“Sophisticated production, nostalgic synths and gorgeous tunes”
The Guardian
“Insanely addictive”
DIY Magazine
Bury The Key
https://ghostly.lnk.to/TOPS-Bury-the-Key
"Call You Back"
WATCH: https://youtu.be/mDqiNKxJSgw
(August 22, 2025) - Montréal band TOPS releases their new album Bury The Key out now via Ghostly International. The album arrives alongside a music video for album track "Call You Back." One of the most road-tested bands of our time, the perpetually in motion TOPS soon embarks on a robust North American tour starting in Vancouver on September 4th.
TOPS — musicians Jane Penny, David Carriere, Marta Cikojevic and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury The Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones.
Bury The Key faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed "evil TOPS," says Penny. "We're always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us." Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
Speaking about “Wheels At Night”, Jane Penny shares: “At its heart this is a ‘staring into the mirror’ song. When you feel like you’ve messed up and you are no longer on the same path as someone you’ve loved. Should I really be in control of my own life when I keep ending up alone? When we were finishing the song we were joking about how it sounds like it’s a drinking and driving anthem, which it is not. We originally started writing the song years ago but it went through many iterations before it finally became Wheels at Night."
Emerging from Montréal's DIY scene in the early 2010s as progenitors of an indie pop sound still radiating its influence across the contemporary landscape, TOPS’ secret to longevity is simple: keep the songwriting honest and open-hearted and the recording unforced yet pristine, allowing for a band dynamic deeply attuned at every level. Their songs outline the silhouettes of life, and as time goes on — now five LPs, countless tours, and various side projects in — TOPS have only gotten better at what they do.
The voice of TOPS is Jane Penny, a songwriter, producer, flutist, and singer whose hushed delivery hosts a deceivingly vast range of expression and has surely informed a wave of today's greats from Men I Trust to Clairo. Her lyrical subjects never go out of style: dynamics of power, desire, struggles to be seen, having love requited or otherwise. Following her move back to Montréal and first solo release in 2024, Penny returns to the neighbourhoods of her former self a step wiser; the sleek cars and forever highways of her songs, penned with her rhythmic counterpart David Carriere, find assured depth in Bury the Key. Carriere, a songwriter, producer, and guitarist with a flair for high-sheen hooks and the relentless drive to match (other projects include DVC Refreshments and Born At Midnite), adds to his bag of tonal and textural tricks. Drummer Riley Fleck, the band's heartbeat since day one and occasional gun for others (Jessica Pratt's live band as of late), broadens his utility, venturing into higher and harder tempos. Keyboardist Marta Cikojevic, who joined TOPS in 2017 just before the landmark I Feel Alive and in 2022 released her breakout debut as Marci (produced by Carriere), expands her role here as well, joining the writing process and backing Penny for some of the record's fullest, most satisfying vocal lines.
It is rare to see a band so aligned and complete, self-sufficient, specialized yet agile and ambitious, reaching an elite level of pop precision as their legacy remains largely unwritten. They've toured the world over, from major festivals to the dingiest of dives, sleeping on floors and tour-managing themselves for years, manifesting their success the hard way. Beyond work ethic, it also comes down to chemistry and taste; when pressed for which artists get airplay in their van, some expected names appear, Fleetwood Mac and Steely Dan, but dig deeper and the veneer of artists like China Crisis, Prefab Sprout, and Francois Hardy, Missing Persons, and Everything But the Girl start to fill out the playlist. An instinct for luster and thrills, songs both sweet and bleak, brings the band to Bury the Key, a prismatic album polished out of the rough. Grounded by pain and pleasure, the complicated joys of being alive, of being a band from one of our era's finest.
Upcoming Live Shows
9/4 – Vancouver, BC @ Vogue Theatre
9/5 – Portland, OR @ Wonder Ballroom
9/6 – Seattle, WA @ The Crocodile (EARLY SHOW)
9/8 – Salt Lake City, UT @ Urban Lounge
9/9 – Denver, CO @ Bluebird Theater
9/11 – Dallas, TX @ Club Dada - Outdoor Stage
9/12 – Houston, TX @ Heights Theater
9/14 – El Paso, TX @ Lowbrow Palace
9/15 – Tucson, AZ @ Club Congress
9/17 – Phoenix, AZ @ The Crescent Ballroom
9/18 – San Diego, CA @ Belly Up
9/19 – San Francisco, CA @ The Fillmore
9/20 – Los Angeles, CA @ The Bellwether
10/1 – New York, NY @ Webster Hall
10/2 – Boston, MA @ The Sinclair
10/3 – Philadelphia, PA @ Underground Arts
10/4 – Washington DC @ Union Stage
10/6 – Durham, NC @ Motorco Music Hall
10/7 – Asheville, NC @ The Grey Eagle Tavern & Music Hall
10/8 – Atlanta, GA @ Terminal West
10/9 – Nashville, TN @ Exit/In
10/11 – Austin, TX @ Austin City Limits Festival
10/11 – Austin, TX @ Scoot Inn
10/14 – Chicago, IL @ Thalia Hall
10/16 – Detroit, MI @ El Club
10/17 – Toronto, ON @ Phoenix Concert Theatre
10/18 – Montreal, QC @ Théâtre Beanfield
11/10 – Brighton, UK @ Patterns
11/11 – London, UK @ Heaven
11/13 – Dublin, IE @ Workmans Club
11/14 – Glasgow, UK @ Stereo
11/15 – Manchester, UK @ Band on the Wall
11/17 – Leeds, UK @ The Brudenell Social Club
11/18 – Bristol, UK @ Rough Trade
11/20 – Kortrijk, BE @ Wilde Westen
11/21 – Paris, FR @ Point Ephemere
11/22 – Brussels, BE @ Botanique
11/23 – Vlaardingen, NL @ De Kroepoekfabriek
11/24 – Hamburg, DE @ Nochtspeicher
11/26 – Berlin, DE @ Neue Zukunft
11/28 – Istanbul, TR @ Salon İKSV
Bury The Key album artwork
TOPS
Bury The Key
Ghostly International
August 22nd, 2025
1. Stars Come After You
2. Wheels at Night
3. ICU2
4. Outstanding in the Rain
5. Annihilation
6. Falling on my Sword
7. Call You Back
8. Chlorine
9. Mean Streak
10. Your Ride
11. Standing at the Edge of Fire
12. Paper House
Connect with TOPS:
Cafuné show love in moments of friction on new single "In My Pocket"
CAFUNÉ SHOW LOVE IN MOMENTS OF FRICTION
ON NEW SONG “IN MY POCKET” — STREAM
FINAL SINGLE BEFORE NEW ALBUM BITE REALITY
ARRIVES ON SEPTEMBER 12 — PRE-SAVE
NORTH AMERICAN HEADLINE TOUR KICKS OFF NEXT MONTH
WITH SUPPORT FROM CRUSHED — SEE ALL DATES HERE
Press photo by Akram Shah
“...alt-pop dynamism that displays the duo’s tight-knit friendship and music-producing chops.”
— UPROXX
“Some songs have a beautiful way of pulling you straight into your feelings—whether through a striking chord progression or the interplay of instruments… It drops you into a reflective headspace, thinking about what could’ve been—or what once was.”
— EARMILK
Today, multi-Platinum duo Cafuné release one more single ahead of their new album with “In My Pocket.” Written and produced by band members Noah Yoo and Sedona Schat, Bite Reality will arrive on September 12 via the band’s own Aurelians Club label, distributed by SoundOn. “In My Pocket” is a thank you note for the people in life who see your flaws and choose not to pull away — Stream.
“‘In My Pocket’ is our ode to the ride-or-dies. Anyone who’s been in a band or long-term relationship knows that given enough years, you end up disagreeing about the same stuff over and over,” says Schat. “A big part of showing love in those moments is commitment to forging on. No matter how often the same friction might arise, the humility required to say ‘I’m flawed, let’s try again’ is the foundation of what makes this relationship so meaningful to us.“
As the New York duo stare head-on into a world of digital degradation, they ask what humanity looks like in an era increasingly defined by AI, algorithms, and artificial intimacy. Recorded in 2024, the record finds the band at a familiar crossroads, reckoning between real and fake. The difference, this time around, is that they’re doing it in the real world, too. They’re no longer running from the bite of reality, but biting reality back; their lyrics teem with brutal honesty, not avoidant analogy.
So far from the upcoming album, Cafuné have released “e-Asphyxiation,” “Attack + Release” and “Temporary Lover” featuring Riovaz.
Cafuné's 3X Platinum song "Tek It" surpassed 1 billion streams in part due to its cultural moment on TikTok. Since 2022, the song has received its own Fortnite emote, was sampled in Lil Uzi Vert’s single “Red Moon,” and has remained a beloved staple in the band’s ever-growing catalog.
Beginning next month, Cafuné will set out on their headline Alive Online Tour, playing the largest rooms of their career to date. Along the way, they will be supported by maximalist dream-pop duo crushed. All tour info can be found here and below.
Tour poster [Download]
UPCOMING TOUR DATES
September 19 - Washington, DC - The Atlantis*
September 20 - Philadelphia, PA - The Fillmore - The Foundry*
September 22 - Boston, MA - Brighton Music Hall*
September 23 - Montréal, QC - Bar Le Ritz PDB*
September 24 - Toronto, ON - The Great Hall*
September 26 - Chicago, IL - Lincoln Hall*
September 27 - Madison, WI - High Noon Saloon*
September 30 - Denver, CO - Globe Hall*
October 2 - Salt Lake City, UT - Urban Lounge*
October 5 - Portland, OR - Mississippi Studios*
October 6 - Seattle, WA - The Crocodile - Madame Lou's*
October 8 - San Francisco, CA - Bimbo's 365 Club*
October 10 - Los Angeles, CA - Teragram Ballroom*
October 12 - Phoenix, AZ - The Rebel Lounge*
October 14 - Dallas, TX - House of Blues Dallas - Cambridge Room*
October 15 - Austin, TX - The Parish*
October 17 - Atlanta, GA - The Masquerade - Hell*
October 18 - Carrboro, NC - Cat's Cradle - Backroom*
October 22 - Brooklyn, NY - Music Hall of Williamsburg*
*with support from crushed
All tour dates here
ABOUT CAFUNÉ:
Four years ago, in a vastly different context, Cafuné—the indie-pop powerhouse of Noah Yoo and Sedona Schat—released Running, a bionic debut album that soundtracked a collective urge for post-pandemic escapism. That record, Schat says, “is literally all about running away.” But as the duo enters its tenth year, their foundational questions—of authenticity, artificiality, and the existential tension between the two—feel more pressing than ever. “The entire time that the band has existed,” Schat says, “it’s always been about negotiating between digital manipulation and raw realness.”
This moment—one increasingly defined by AI, algorithms, and artificial intimacy—is very much a bastion of “digital manipulation” in itself. Recorded in 2024, their new record Bite Reality (out September 12 via SoundOn) finds the band at a familiar crossroads, reckoning between real and fake. The difference, this time around, is that they’re doing it in the real world, too. And it sounds like it. Bite Reality captures Cafuné in a confrontational state, no longer running from the bite of reality, but biting reality back. Their guitars growl; their vocals snarl; their lyrics teem with brutal honesty, not avoidant analogy. “Self-flagellation is not cute after a certain point,” Yoo says, with a laugh. “That’s not even helpful,” Schat adds. “What helps you to be better is actually facing: What is really wrong, and how do I work through it?”
Bite Reality is about the fine line between documenting your existence and doing the work to actually exist. What does humanity look, sound, and feel like in a dehumanizing era? Why prove that you’re alive when you can just live?
###
For more information on Cafuné, please visit:
Website | Instagram | TikTok | YouTube | Spotify | Apple Music
TOMMY CASH IS BACK WITH HIS NEW SINGLE “OK”
TOMMY CASH
IS BACK WITH HIS NEW SINGLE “OK” HERE
After taking the world by storm with his hit “Espresso Macchiato”, he secured a podium finish at the Eurovision Song Contest 2025 and hit #1 on Spotify’s European Viral 50
Today, the eclectic, provocative, irreverent TOMMY CASH is back! After making headlines and winning over audiences and charts worldwide with his hit “ESPRESSO MACCHIATO,” which reached the podium at the Eurovision Song Contest 2025, the Estonian artist now announces his new track “Ok” (Epic / Sony Music) today.
The song, first teased on stage at the Red Valley Festival in Olbia, Italy, on August 13, is entirely in Italian and once again confirms, through his ironic and irreverent lens, the love and connection Tommy Cash has with Italy.
Known as a visual artist capable of creating and interpreting global trends in an original and humorous way, Tommy Cash has gained worldwide recognition for his extravagant and ironic imagery.
After conquering the Estonian scene, his success quickly spread to other countries, bringing him to perform across the United States and Europe on the stages of major festivals such as Glastonbury, Sziget, and Roskilde, in front of tens of thousands of people.
Tommy Cash has collaborated with artists like Charli XCX, Diplo, Bones, Boys Noize, Quebonafide, A.G. Cook, and has also worked with fashion figures such as Rick Owens, Maison Margiela, and Adidas.
With the viral hit “Espresso Macchiato”, the artist represented Estonia at the Eurovision Song Contest, finishing third.
Tommy Cash live shows:
https://tommycash.tix.to/live09 Sep 2025 – Rome, Italy @ Eur Social Park
10 Sep – Bellaria-Igea Marina, Italy @ Beky Bay
11 Sep – Milan, Italy @ Circolo Magnolia Summer
30 Sep – Sofia, Bulgaria @ Joy Station
02 Oct – Bucharest, Romania @ Arenele Romane
05 Oct – Dublin, Ireland @ Academy
06 Oct – Glasgow, UK@ SWG3
09 Oct – London, UK @ Heaven
10 Oct – Antwerp, Belgium @ Trix
12 Oct – Amsterdam, Netherlands @ Melkweg MAX
14 Oct – Cologne, Germany @ Die Kantine
16 Oct – Prague, Czech Republic @ SaSaZu
18 Oct – Vienna, Austria @ WUK
20 Oct – Gdansk, Poland @ B90
21 Oct – Warsaw, Poland @ Stodola
22 Oct – Poznan, Poland @ B17
24 Oct – Ljubljana, Slovenia @ Odiseja
27 Oct – Riga, Latvia @ Palladium
29 Oct – Vilnius, Lithuania @ Litexpo
31 Oct – Tallinn, Estonia @ Unibet Arena
11 Nov – Stockholm, Sweden @ Slakthyrkan
16 Nov – Oslo, Norway @ Rockerfellar
17 Nov – Copenhagen, Denmark @ Pumpehuset
20 Nov – Berlin, Germany @ Metropol
21 Nov – Budapest, Hungary @ Dürer Kert
22 Nov – Zagreb, Croatia @ Boogaloo
23 Nov – Bratislava, Slovakia @ Majestic Music Club
26 Nov – Barcelona, Spain @ Sala La [2] De Apolo
27 Nov – Madrid, Spain @ Sala Mon
29 Nov – Lisbon, Portugal @ LAV
01 Dec – Lyon, France @ Le Transbordeur
02 Dec – Paris, France @ Le Cabaret Sauvage
04 Dec – Istanbul, Turkey @ Salon
05 Dec – Istanbul, Turkey @ Salon
https://tommycashshop.com/
TikTok: https://www.tiktok.com/@tommycashofficial
Instagram/Threads: https://www.instagram.com/tommycashworld/
Spotify
YouTube: https://www.youtube.com/@TOMMYCASHWORLD
Facebook: https://www.facebook.com/tommycashworld
Soulwax shares "New Earth Time" + first studio album in seven years due 10/17
SOULWAX SHARES “NEW EARTH TIME”
ALL SYSTEMS ARE LYING ALBUM DUE OCTOBER 17TH VIA DEEWEE / BECAUSE MUSIC
Soulwax by Nadine Fraczkowski
All Systems Are Lying:
PRE-ORDER/SAVE:
"New Earth Time"
WATCH:
LISTEN:
(Aug 22, 2025) - Soulwax, consisting of brothers David and Stephen Dewaele, share a new single titled “New Earth Time,” a pulsating track that dissects the modern facade we live in. The song is another taste of their first studio album in seven years, All Systems Are Lying, due October 17th via DEEWEE / Because Music. Described by the brothers as “a rock album made without any electric guitars,” All Systems Are Lying was built entirely from modular synths, live drums, tape machines and processed vocals. It’s a fractured mirror held up to modern society on the brink — where truth is distorted by filters, algorithms and noise. “We wanted to capture the feeling of a band playing electronic instruments — live, loud and loose,” shared David & Stephen, “This record is the result of that experiment.”
The new single follows their previous double A-side, which included the glitching, tension-filled title track alongside spiritual opposite, “Run Free,” a euphoric track propelled by rhythm and release.
The duo has spent more than two decades quietly building a creative universe: a band (Soulwax), djs (2manydjs), a record label (DEEWEE), and a sound system (Despacio, alongside James Murphy). They are widely regarded as one of the most forward-thinking remix and production teams of the 21st century — known for their meticulous studio craft, boundary-breaking live shows, and projects that challenge what a band can be.
Having toured constantly throughout 2024 with both headline shows and multiple festival dates (where eagle-eyed fans may have spotted early glimpses of new album material) this year, Soulwax have already delivered blistering sets at Kappa Futur in Turin, Rock Werchter in Belgium and continued their summer run with appearances at Junction 2 in London and Lokerse Feesten in Belgium, bringing their high-intensity live show — complete with three drummers — to festival stages across Europe. They’ll be doing a Q&A and singing at Rough Trade East on Oct 23rd. Full details and ticketing info here.
All Systems Are Lying album artwork
Soulwax
All Systems Are Lying
October 17th, 2025
DEEWEE / Because Music
1. Pills And People Gone
2. Run Free
3. Meanwhile On The Continent
4. New Earth Time
5. All Systems Are Lying
6. Gimme A Reason
7. Dshungel
8. Constant Happiness Machine
9. Polaris
10. The False Economy
11. Idiots In Love
12. Hot Like Sahara
13. Engineered Fantasy
14. Distant Symphony
Connect with Soulwax:
CULT OF VENUS RELEASES ALGORITHM EP TODAY VIA LIBERTY BELLE RECORDS (FUTURES/VIRGIN)
CULT OF VENUS RELEASES ALGORITHM EP TODAY
VIA LIBERTY BELLE RECORDS (FUTURES/VIRGIN) HERE
“ALGORITHM” OFFICIAL MUSIC VIDEO HERE
TOURED WITH ST. VINCENT IN EUROPE
AND CHVRCHES’ LAUREN MAYBERRY IN USA
Today, Cult Of Venus releases her stunning Algorithm EP via her imprint Liberty Belle Records (FUTURES/Virgin Music), a body of work described by FLOOD Magazine as “reminiscent of Caroline Polacheck with a touch of a club vibe”.
About “Silence”, Cult Of Venus adds: “The power of silence is often overlooked. Using your voice or choosing not to can have an equally powerful impact. What is not said can carry an immense weight”.
The global success of her single “Algorithm” — praised by BBC 6Music for its “hefty electro beats and really powerful lyrics” — propelled her onto a European tour as main support for St. Vincent and a 28-city North American run with CHVRCHES’ Lauren Mayberry. Live, she’s every bit the “one-woman powerhouse” Lisa Worden (98.7 LA) describes, commanding guitar, synths, and soaring vocals with the “gamified glitchy goodness” and “wicked synths” that BBC Radio 1’s Sian Eleri has championed.
All the graphics for the Algorithm EP were created in collaboration with Sarah Schmitt - known for her work with Julian Casablancas, The Voidz, The Strokes, Suki Waterhouse, and more - and shot and filmed by Moody Darkroom. Along these creatives, the “Algorithm” video was edited by Charlie Robins.
She’s seen major support from the most important tastemakers and hundreds of plays at the biggest radio stations across the world, including SiriusXM’s Alt Nation, BBC Radio 1, KROQ, BBC 6Music, 98.7 Los Angeles, KCRW etc.
The Algorithm EP also includes “Sinner,” which she describes as: “A word used to invoke guilt, SINNER is for all women who have been made to feel shame for any part of themselves. It is about radical self acceptance as a road to redemption.”
Cult of Venus is a multi-disciplinary performance artist who has played at MOMA PS1, Fotografiska’s Chapel Bar for David LaChappelle’s “FAITH”, and The Women’s March NYC. Cult of Venus has played her music as an artist in residence at Riker’s Island women’s jail in New York. Her music is the meeting point of art and activism with powerful songs that critique the impending environmental collapse, Disaster Capitalism, and social media as a surveillance tool. With her sustainable upcycled merch line raising thousands of dollars, donated to support the Women’s Prison Association and other regional charities.
“Mixed by Geoff Swan (Grimes, Caroline Polachek, Charli xcx), “Mountains” opens with a solo horn line before gorgeously layered vocals mesh together to create something eerily similar to what one would expect from a collaboration between CHVRCHES Lauren Mayberry and Justin Vernon of Bon Iver.” - The Line Of Best Fit
https://ffm.bio/cultofvenus
https://www.instagram.com/cvltofvenvs
SG Lewis and London Grammar Team Up For "Feelings Gone." New Album "Anemoia" and North American Tour Coming This Fall
SG LEWIS SHARES NEW SINGLE “FEELINGS GONE”
FEATURING LONDON GRAMMAR – OUT NOW
FROM FORTHCOMING THIRD ALBUM ANEMOIA,
OUT SEPTEMBER 5 - PRE-ORDER HERE
[FOREVER DAYS/ASTRALWERKS]
REVEALS ALBUM TRACKLISTING
NORTH AMERICAN HEADLINE TOUR STARTS SEPTEMBER 5
TICKETS HERE
LISTEN
“FEELINGS GONE” (FEAT. LONDON GRAMMAR)
PRE-ORDER HERE
ANEMOIA [ALBUM]
Memory
Feelings Gone (feat. London Grammar)
Sugar (feat. Shygirl)
Transition (feat. RAHH)
Devotion (feat. TEED)
Past Life
Back Of My Mind
Another Place (feat. Frances)
Fallen Apart
Baby Blue (feat. Oliver Sim)
SG Lewis Tour Dates
09/05 - Austin, TX - ACL Live
09/06 - Dallas, TX - House of Blues
09/11 - Toronto, ON – HISTORY
09/12 - Washington, DC - Echostage
09/13 - Boston, MA - Royale
09/19 - Queens, NY- Knockdown Center
09/20 - Queens, NY - Knockdown Center
09/26 - Detroit, MI - The Majestic Theatre
09/27 - Chicago, IL – RADIUS
10/02 - Seattle, WA - Showbox SoDo
10/04 - Vancouver, BC - Vogue Theatre
10/10 - Los Angeles, CA - Shrine Expo Hall
10/17 - San Francisco, CA - Bill Graham Civic Auditorium
10/18 - Denver, CO - Mission Ballroom
Today, internationally acclaimed producer, songwriter and DJ SG Lewis releases his brand-new single “Feelings Gone” featuring beloved UK trio, London Grammar. Out everywhere now via his own label, Forever Days in collaboration with Astralwerks, the track offers a shimmering and emotional glimpse into Lewis’ forthcoming third studio album Anemoia , arriving September 5.
Listen to “Feelings Gone” (feat. London Grammar) HERE .
Blending SG Lewis’ euphoric, widescreen production with Hannah Reid’s unmistakable vocals, “Feelings Gone” embodies the nostalgic and cathartic energy that pulses throughout Anemoia . The record features an all-star lineup of collaborators including Oliver Sim (The xx), TEED, Shygirl, and RAHH with additional production contributions come from TEED and Karma Kid.
Marking a pivotal moment for the London-born, LA-based artist — following a string of club-focused releases and collaborations, Anemoia sees SG Lewis return to the center of his solo artist project with a sound that’s expansive, cerebral and deeply personal.
Pre-order/add/save Anemoia HERE .
Named after the word that describes a nostalgia for a time never personally experienced, Anemoia explores SG’s long-standing fascination with past eras of dance music, refining an emotional sound that draws as much from early trance, Balearic house, and 2000s electronica as it does modern pop songwriting.
“When I discovered the word Anemoia, it articulated a feeling I’d struggled to describe for so long — a nostalgia for times I never lived through,” SG says. “Throughout my career, I’ve often referenced past eras of music, studying them inside out to understand their cultural and technical history. In doing so, I started to question my emotional connection to those times, and why they left such a mark on me.
This album is rooted in the dancefloor, and even its quieter moments are shaped by Balearic sounds that are influenced from spending a lot of time in Ibiza last summer. I think a lot of the music carries an undertone of melancholy, even when it feels high in energy. More than anything, I want Anemoia to be a soundtrack to living in the present — to creating the kind of moments that others might one day feel nostalgic for.”
“Feelings Gone” follows the release of “Sugar,” featuring close-collaborator and pop-provocateur, Shygirl and “Back of My Mind,” which premiered as BBC R1’s Hottest Record upon its release and introduced a more introspective tone while nodding to SG’s roots in euphoric, progressive electronic music. It also arrived at a time of creative renewal for SG Lewis. Having spent the past year grounding himself in his London studio after a decade of life on the road, he channelled that reflective energy into a new body of work that reaches beyond the club – blending timeless dance music influences with vivid storytelling.
Alongside the album release, SG Lewis will embark on his Anemoia Live North American Tour, kicking off September 5 in Austin, TX, with stops in Toronto, New York, Chicago, Los Angeles, San Franciscoand more. He will then join RÜFÜS DU SOL on their massive stadium tour across Australia, before returning to the UK for headline dates including a major night at O2 Academy Brixton. For a list of all live dates and to purchase tickets, please visit https://drop.cobrand.com/d/SGLewis/AnemoiaTour.
This wave of new music follows on from a stellar 18 months of activity for the much-adored artist, which have included sold-out headline shows in London, New York City, and Ibiza, as well as a Boiler Room debut, not to mention key collaborations alongside Tove Lo ( HEAT EP), Nelly Furtado and Shygirl as well as the launch of his own label Forever Days which saw him launch his own curated headline shows across iconic venues including KOKO in London, The Knockdown Center in New York and Ibiza’s Cova Santa. He is also currently in the middle of his debut Radio 1 Residency (running every Thursday of August - LISTEN) and was recently announced as the face of Spotify’s Mint Campaign, which includes the playlist cover, dedicated social content, and a billboard in New York City.
With over 2 billion streams to date and collaborators ranging from Elton John to Dua Lipa, SG Lewis continues to shape the future of electronic music – one era-defining record at a time.
The new single, “Feelings Gone” (feat. London Grammar) is available everywhere now.
Forthcoming new album Anemoia, out September 5 [ Pre-Order/Save ]
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"SG Lewis is rapidly establishing himself as one of the moment's hottest arbiters of feel-good, dance jams." - Billboard
“Super Producer.” – VOGUE
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