Caroline Polachek’s new album Desire, I Want To Turn Into You is out today. “One, it can be read as being about the ‘you,’” she explained about the title. “We all know that feeling of falling in love, of wanting to obsessively learn from and become that person. But on the other hand, maybe desire is the thing you want to turn into itself.”
The album dives headfirst into those themes of love and obsession, especially on “Fly To You,” a techno-inspired collaboration with Grimes and Dido. “How I remember, how I forget / Wanted to hate you but love you instead / Violence made me gentle at last,” Grimes sings, opening the track. The three singers trade off verses, making for a sprawling exploration of complicated romance.
Earlier this year, Grimes said music is just a “side quest” in her life at the moment. “I’ll always release music but if it hasn’t been clear ; music is my side quest now,” the eccentric artist explained in a Twitter thread. “Tbh reduced pressure x increased freedom = prob more music just ideally ‘Low key. I’ll always do my best to entertain whilst depleting my literal reputation I hope that’s ok I love y’all.”
Listen to “Fly To You” above.
Desire, I Want To Turn Into You is out now via Perpetual Novice. Get it here.
Lana Del Rey, ahead of her new album Did You Know That There’s A Tunnel Under Ocean Blvd, was interviewed by Billie Eilish for the cover of Interview Magazine. The story dropped today and features a lot of mutual praise from both musicians, as well as some interesting reveals about the record’s creation process.
Del Rey had dropped various alternate covers for the vinyl pressings, including a nude photoshoot. She went on to discuss why it was ultimately scrapped as an idea for the main one.
“The artwork is by Neil Krug, who’s done a lot of my covers,” she said. “My original cover was nude, then I thought about it, and I was like, maybe not right now, because there are some other things I want to do where I feel like that could get in the way.”
“For each shot, we were really specific about the idea and the mood. He took 65 shots in a row and we used every single one of them, because I told him I didn’t want him to just shoot, shoot, shoot, I wanted to take my time and think about what I wanted to express in my face,” Del Rey added.
Eilish loved them all. “They’re so beautiful. I don’t know which one is the cover, but I saw a bunch of the shots,” she responded.
Did You Know That There’s A Tunnel Under Ocean Ocean Blvd is out 3/24 via Interscope/Polydor. Pre-save it here.
Lana Del Rey, ahead of her new album Did You Know That There’s A Tunnel Under Ocean Blvd, was interviewed by Billie Eilish for the cover of Interview Magazine. The story dropped today and features a lot of mutual praise from both musicians, as well as some interesting reveals about the record’s creation process.
Del Rey had dropped various alternate covers for the vinyl pressings, including a nude photoshoot. She went on to discuss why it was ultimately scrapped as an idea for the main one.
“The artwork is by Neil Krug, who’s done a lot of my covers,” she said. “My original cover was nude, then I thought about it, and I was like, maybe not right now, because there are some other things I want to do where I feel like that could get in the way.”
“For each shot, we were really specific about the idea and the mood. He took 65 shots in a row and we used every single one of them, because I told him I didn’t want him to just shoot, shoot, shoot, I wanted to take my time and think about what I wanted to express in my face,” Del Rey added.
Eilish loved them all. “They’re so beautiful. I don’t know which one is the cover, but I saw a bunch of the shots,” she responded.
Did You Know That There’s A Tunnel Under Ocean Ocean Blvd is out 3/24 via Interscope/Polydor. Pre-save it here.
Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.
This week saw Paramore drop a much-hyped new album and Lizzo link up with a star for a new remix. Yeah, it was a great week for new music. Check out the highlights below.
Hayley Williams recently explained how the new This Is Why cut is inspired by Taylor Swift, saying, “I remember when we were 19 and I was closer with Taylor Swift at that point because we both lived in Nashville and we’re both experiencing our own versions of real success for the first time. I went over to hang out. […] I wish that I was the person that felt like I had all my sh*t together and I was like, ‘Oh, I had some extra time, so I’m just popping by with some flowers.’ That kind of thing, that is my idealized self.”
Lizzo — “Special” Feat. SZA
Lizzo and SZA were two of the biggest stars of 2022 and that’s remaining true here in 2023. They have compatible musical styles, too, which is unequivocally true on the new SZA-featuring remix of Lizzo’s “Special.” The song’s original lush charm is fully intact, just now with SZA fearlessly shutting haters down in a new opening verse.
Dove Cameron and Khalid — “We Go Down Together”
Speaking of collaborations, Cameron and Khalid came through with “We Go Down Together” last week. Cameron described the personal single as “like a little distilled love letter in a bottle” and continued, “A song about a timeless love, the kind of love that makes you feel like you might be the only two people left on earth, and you wouldn’t even notice.”
Tove Lo — “Borderline”
While Tove Lo’s latest single is feature-free, she didn’t go about it alone, as Dua Lipa is listed among the “Borderline” co-writers. That collaboration worked to great effect, as Uproxx’s Flisadam Pointer describes the “emotionally alarming new single” as “a tale of a romance you’ll spend years and thousands of dollars of therapy recovering from.”
The Kid LAROI — “Kids Are Growing Up (Part 1)”
LAROI is a global star, which makes it easy to forget that he’s only 19 years old. Like many young people his age, he’s in a transitional part of his life, which he addresses on “Kids Are Growing Up (Part 1).” On the tracks, he raps about listening to his favorite musicians speak about life and now experiencing those same things himself.
Daniel Caesar — “Let Me Go”
After going pretty quiet for a few years, Caesar has been productive the past couple weeks. His latest is “Let Me Go,” of which Uproxx’s Alex Gonzalez notes, “The song’s instrumental is equal parts dreamy and hypnotic, as Caesar’s vocals shine through, creating a saccharine air amid tambourines and sultry guitars.”
Central Cee — “Me And You”
It turns out that apparently, a lot of songs are about love and relationships. Well, just in time for Valentine’s Day, Central Cee offers an addition to the lovey-dovey oeuvre with “Me And You,” in which he lays out the benefits of being romantically linked to somebody like him.
Smino — “Smi Myself And I”
Beyoncé is on top of the world right now after her historic Grammy Awards showing, and she’s on Smino’s mind, too, as he just sampled her on “Smi Myself And I.” The track borrows from Bey’s “Me Myself And I,” and while it’s only two minutes long, it still delivers plenty of Smino’s signature wordplay.
Indigo De Souza — “Younger & Dumber”
Saddle Creek favorite De Souza just kicked off the promo cycle for her newly announced album, All Of This Will End, last week with lead single “Younger & Dumber.” Uproxx’s Danielle Chelosky says of the “sprawling” new song, “The song is as thoughtful and stunning as her material usually is; she proves her maturity more than ever, reflecting on her younger self.”
Bartees Strange — “Tisched Off”
Bartees has ascended rapidly in recent years, but on new single “Tisched Off,” he looks back at his halcyon days. It’s a tongue-in-cheek dig at his up-and-coming contemporaries at the time, who had greater resources to devote to their craft than he did (“Tisched” is a reference to NYU’s Tisch School Of The Arts).
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.
This week saw Paramore drop a much-hyped new album and Lizzo link up with a star for a new remix. Yeah, it was a great week for new music. Check out the highlights below.
Hayley Williams recently explained how the new This Is Why cut is inspired by Taylor Swift, saying, “I remember when we were 19 and I was closer with Taylor Swift at that point because we both lived in Nashville and we’re both experiencing our own versions of real success for the first time. I went over to hang out. […] I wish that I was the person that felt like I had all my sh*t together and I was like, ‘Oh, I had some extra time, so I’m just popping by with some flowers.’ That kind of thing, that is my idealized self.”
Lizzo — “Special” Feat. SZA
Lizzo and SZA were two of the biggest stars of 2022 and that’s remaining true here in 2023. They have compatible musical styles, too, which is unequivocally true on the new SZA-featuring remix of Lizzo’s “Special.” The song’s original lush charm is fully intact, just now with SZA fearlessly shutting haters down in a new opening verse.
Dove Cameron and Khalid — “We Go Down Together”
Speaking of collaborations, Cameron and Khalid came through with “We Go Down Together” last week. Cameron described the personal single as “like a little distilled love letter in a bottle” and continued, “A song about a timeless love, the kind of love that makes you feel like you might be the only two people left on earth, and you wouldn’t even notice.”
Tove Lo — “Borderline”
While Tove Lo’s latest single is feature-free, she didn’t go about it alone, as Dua Lipa is listed among the “Borderline” co-writers. That collaboration worked to great effect, as Uproxx’s Flisadam Pointer describes the “emotionally alarming new single” as “a tale of a romance you’ll spend years and thousands of dollars of therapy recovering from.”
The Kid LAROI — “Kids Are Growing Up (Part 1)”
LAROI is a global star, which makes it easy to forget that he’s only 19 years old. Like many young people his age, he’s in a transitional part of his life, which he addresses on “Kids Are Growing Up (Part 1).” On the tracks, he raps about listening to his favorite musicians speak about life and now experiencing those same things himself.
Daniel Caesar — “Let Me Go”
After going pretty quiet for a few years, Caesar has been productive the past couple weeks. His latest is “Let Me Go,” of which Uproxx’s Alex Gonzalez notes, “The song’s instrumental is equal parts dreamy and hypnotic, as Caesar’s vocals shine through, creating a saccharine air amid tambourines and sultry guitars.”
Central Cee — “Me And You”
It turns out that apparently, a lot of songs are about love and relationships. Well, just in time for Valentine’s Day, Central Cee offers an addition to the lovey-dovey oeuvre with “Me And You,” in which he lays out the benefits of being romantically linked to somebody like him.
Smino — “Smi Myself And I”
Beyoncé is on top of the world right now after her historic Grammy Awards showing, and she’s on Smino’s mind, too, as he just sampled her on “Smi Myself And I.” The track borrows from Bey’s “Me Myself And I,” and while it’s only two minutes long, it still delivers plenty of Smino’s signature wordplay.
Indigo De Souza — “Younger & Dumber”
Saddle Creek favorite De Souza just kicked off the promo cycle for her newly announced album, All Of This Will End, last week with lead single “Younger & Dumber.” Uproxx’s Danielle Chelosky says of the “sprawling” new song, “The song is as thoughtful and stunning as her material usually is; she proves her maturity more than ever, reflecting on her younger self.”
Bartees Strange — “Tisched Off”
Bartees has ascended rapidly in recent years, but on new single “Tisched Off,” he looks back at his halcyon days. It’s a tongue-in-cheek dig at his up-and-coming contemporaries at the time, who had greater resources to devote to their craft than he did (“Tisched” is a reference to NYU’s Tisch School Of The Arts).
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
But as she famously sings, “That Rihanna reign just won’t let up,” and streaming titan Spotify has the data to prove it. Several of the songs she performed saw a significant streaming boost, pushing the Barbadian singer to the top of Spotify’s Daily Top Artists USA and Daily Top Artists Global charts dated February 13, dethroning “Anti-Hero” singer Taylor Swift in the process.
Following the halftime performance, specifically between 11 p.m. and midnight ET, there was a more than 2,600-percent increase in Rihanna’s song “B*tch Better Have My Money.” Her song “Diamonds” saw a 1,400-percent increase in streams. While the streams for “Rude Boy” increased by 1,170 percent, and “We Found Love” rose by 1,160 percent.
The “Work” singer wasn’t the only musician featured during Super Bowl LVII that saw a major boost in their streaming numbers. According to the platform, Chris Stapleton, who sang the national anthem, was the biggest gainer on the Top Artists USA chart. Stapleton moved up 35 spots and is now sitting at No. 61.
In the words of Paramore singer Hayley Williams, “F*ck yeah, sports.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
But as she famously sings, “That Rihanna reign just won’t let up,” and streaming titan Spotify has the data to prove it. Several of the songs she performed saw a significant streaming boost, pushing the Barbadian singer to the top of Spotify’s Daily Top Artists USA and Daily Top Artists Global charts dated February 13, dethroning “Anti-Hero” singer Taylor Swift in the process.
Following the halftime performance, specifically between 11 p.m. and midnight ET, there was a more than 2,600-percent increase in Rihanna’s song “B*tch Better Have My Money.” Her song “Diamonds” saw a 1,400-percent increase in streams. While the streams for “Rude Boy” increased by 1,170 percent, and “We Found Love” rose by 1,160 percent.
The “Work” singer wasn’t the only musician featured during Super Bowl LVII that saw a major boost in their streaming numbers. According to the platform, Chris Stapleton, who sang the national anthem, was the biggest gainer on the Top Artists USA chart. Stapleton moved up 35 spots and is now sitting at No. 61.
In the words of Paramore singer Hayley Williams, “F*ck yeah, sports.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
It’s a common complaint about TV shows about zombies: why does no one say the word “zombie”? On The Walking Dead, “walker” is used as a stand-in for munchers, while “infected” is the preferred term on The Last of Us. The HBO series even went so far as to effectively ban the z-word from being uttered on set.
“We weren’t allowed to say the z-word on set. It was like a banned word. They were the infected,” cinematographer Eben Bolter told The Credits. “We weren’t a zombie show. Of course, there’s tension building and jump scares but the show’s really about our characters; the infected are an obstacle they have to deal with.” Joel and Ellie are more scared of someone stealing their Chef Boyardee than the infected, as they should be.
The Last of Us should have used a swear jar to cut down on z-word mishaps, except instead of paying a dollar every time someone cursed, the cast and crew would have to watch Negan’s Walking Dead debut if they said “zombie.” The punishment fits the crime.
Bolter also discussed the popularity of The Last of Us show:
“Back in 2013, I remember telling everybody I saw, ‘You have to try this game,’ but there were many people I knew who were never going to pick up a controller. It’s almost like, ‘There’s this amazing book I read, but you can’t read the language it’s written in so you’re never gonna know.’ What’s been great about this series is that now, I don’t have to pitch people anymore: ‘Trust me, it’s not just zombies.’ My parents, for example, I can just tell them: ‘Watch the show.’ And now they see what I saw when I first played the game, which is a beautiful thing.”
Linda Ronstadt exists in the universe of The Last of Us. I wonder if Shaun of the Dead does, too?
It’s a common complaint about TV shows about zombies: why does no one say the word “zombie”? On The Walking Dead, “walker” is used as a stand-in for munchers, while “infected” is the preferred term on The Last of Us. The HBO series even went so far as to effectively ban the z-word from being uttered on set.
“We weren’t allowed to say the z-word on set. It was like a banned word. They were the infected,” cinematographer Eben Bolter told The Credits. “We weren’t a zombie show. Of course, there’s tension building and jump scares but the show’s really about our characters; the infected are an obstacle they have to deal with.” Joel and Ellie are more scared of someone stealing their Chef Boyardee than the infected, as they should be.
The Last of Us should have used a swear jar to cut down on z-word mishaps, except instead of paying a dollar every time someone cursed, the cast and crew would have to watch Negan’s Walking Dead debut if they said “zombie.” The punishment fits the crime.
Bolter also discussed the popularity of The Last of Us show:
“Back in 2013, I remember telling everybody I saw, ‘You have to try this game,’ but there were many people I knew who were never going to pick up a controller. It’s almost like, ‘There’s this amazing book I read, but you can’t read the language it’s written in so you’re never gonna know.’ What’s been great about this series is that now, I don’t have to pitch people anymore: ‘Trust me, it’s not just zombies.’ My parents, for example, I can just tell them: ‘Watch the show.’ And now they see what I saw when I first played the game, which is a beautiful thing.”
Linda Ronstadt exists in the universe of The Last of Us. I wonder if Shaun of the Dead does, too?
In December, Fat Joe said his unreleased collaboration with Jay-Z would never see the light because of the NFL. “He had just signed that big deal with that NFL, so he wanted to let it go,” he said. “He gave it to me… But I guess his people were like, ‘Yo bro, you just did a deal with them. How are you going to go in like that?’” It was a big loss for Fat Joe, who often sings Jay-Z’s praises.
He’s hyping Jay-Z up again after the “Empire State Of Mind” rapper topped Billboard and Vibe‘s much-discussed recent list of the greatest rappers.
“The one I agree with — and this is not being political — is they put Jay-Z first. Now why do I say Jay-Z first and I agree?” He began in a video. He explains that there are “certain rappers” who “have flows like nobody else.” “But when they got older in age […] it don’t sound current with 2023,” he said. He went on to say that Jay-Z remains relevant in the times.
Last year, Fat Joe also flattered Jay-Z by saying he had the “hardest lyric in hip-hop” with this line from ‘Feelin’ It”: “If every n**** in your clique is rich, then your clique is rugged / Nobody will fall ’cause everyone will be each other’s crutches.” “Everybody wanna be the man,” Fate Joe said. “Everybody wanna be the guy everybody looks up to. There’s no real strength in that. The strength is in everybody eating — so that if one of us falls, we can lift him up. You have to understand that mentality.”
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