Category: News

In light of the pandemic, many musicians have found creative ways to raise funds for those in need. Father John Misty recently announced he’s debuting a handful of covers to benefit charity, and Soccer Mommy’s Sophie Allison has been doing something similar. Each week, Allison taps various indie musicians to share a single of their choosing, whether it is a demo or a cover, as part of her Soccer Mommy & Friends Singles Series. This week concludes the series with unexpected covers by Allison and former Cherry Glazerr member Sasami.

For her cover, Sasami elected to pull from System Of A Down’s back catalog and rework their 2001 Toxicity title track. Sasami strips down the song, reimagining the raucous number as a quiet acoustic guitar ballad.

For Allison’s single, the singer also chose to perform a cover. This time, Allison paid tribute to The Cars’ late vocalist Ric Ocasek with a soulful rendition of their hit song “Drive.” Allison also gave a rendition of “Drive” for a recent studio session with SiriusXM. “I’m really glad to get to release this cover of drive,” Allison said in a statement. “It’s a song I’ve loved for a long time that I started covering pretty recently. It was nice to get to record one last thing in the studio before everything shut down.”

All proceeds from the songs and the remainder of Allison’s Single Series will benefit Oxfam’s COVID-19 relief fund, which works in over 50 countries to prevent the spread of the COVID-19 in vulnerable communities and support people’s basic food needs and livelihoods. Along with Sasami, MGMT’s Andrew VanWyngarden, Beabadoobee, and Jay Som also participated in the series.

Listen to Sasami sing “Toxicity” by System Of A Down and Soccer Mommy cover The Car’s “Drive” above.

Saweetie hasn’t been shy about her love for the music she grew up with. In the past, she’s sampled such 2000s-era hits as “My Neck, My Back” by Khia, “Freak-a-Leek” by Petey Pablo, and “Blow The Whistle” by E-40, but she’s definitely not done mining the sounds of her youth to drive her career forward. Today, she released a new single for her birthday called “Pretty Bitch Freestyle,” which comes complete with a sample of Black Rob’s relentlessly sing-along-able “Whoa!” as well as a homemade music video flexing her ’round-the-way girl style and newfound success.

Dressed in a baggy look that wouldn’t have been out of place at a Bay Area picnic circa 2005, Saweetie brandishes her glossy, nearly foot-long claws at the camera as she brags, “All my quarantine pics goin’ up, I ain’t miss.” A stack of red cups fills her hands as she dances through her marble-adorned kitchen reeling off her list of accomplishments, which includes securing a diploma from USC after basically living out of a car at one point. Not bad for someone who was considering getting out of the rap game for good not too long ago. Saweetie is hard at work on her debut album; don’t be surprised if a few more turn-of-the-millennium gems appear on it, as well.

Watch the “Pretty Bitch Freestyle” video above.

Saweetie is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Conan O’Brien was the first late-night host to start airing full-on episodes (while shooting with an iPhone) during the pandemic, and now, he’s making a historic move. Yep, he’s stepping out, doing his Team Coco thing, and he’s doing it as safely as possible. In a press release, TBS has announced that the production is leaving O’Brien’s home soon (whoa, July 6) to start broadcasting from West Hollywood’s historic Largo at the Coronet venue. It’s a location that’s near and dear to the host’s heart.

“I got started doing improv at the Coronet in 1986,” O’Brien explained in a statement. “And I’m glad we’ve figured out a way to safely keep that theater going during this lockdown.” It sounds like a challenge but a worthy one, if it works.

All aspects of production will be carried out as safely as possible during the ongoing pandemic, with only a limited cast and crew on site to aid O’Brien in his travels while keeping a live audience away and conducting interviews via the Zoom platform. Still, the protocols involved with such a move will be substantial, though O’Brien himself seems committed to keep plugging away with much of his staff working at home. He’s also continuing to keep them all on the payroll, just like he did with his entire non-writing staff during the 2007 writers’ strike.

We can look forward to not only nightly episodes of Conan from the venue but also a monthly live-standup show, which will begin streaming on July 9. The Largo’s owner, Mark Flanagan, is understandably thrilled. “We are thrilled that Conan and his great team reached out and offered to help us through these awful times,” Flanagan said. “We have a long history together and look forward to many more great years to come.”

The next time a boomer tells you about how great things “used” to be, bring up the Space Race. No, not the one between the United States and the Soviet Union. I’m talking about the race between which movie series will shoot in space first: Fast and Furious or Mission: Impossible. That’s way more interesting than Apollo 11, or whatever.

When we asked Chris Morgan, who’s written every Fast movie since Tokyo Drift, if we’ll ever see Vin Diesel throw a moon rock at Dwayne “The Rock” Johnson (the quip writes itself), he answered, “Look, I get all versions of that question. I get, ‘Are you going to space?’ and ‘Please, God, tell me you’re not going to space because you’ll lose me if you do.’ The only way I’d go to space is if I had something so good.” Meanwhile, Tom Cruise is already shooting a movie set in space with Elon Musk, the Rick to Kanye West’s Morty, and he’s “thought about” leaving this cursed Earth for a future M:I installment. “It’s the mechanics of getting it there,” he added. “How do you build a sequence [up] there and how long can we have that sequence? Because if I went up and just dropped, how do you put that into the structure of a screenplay of a mission?” Good questions, ones that Cruise’s M:I co-star, Simon Pegg, hopes will get answered.

“I’d love to go into space, it would be amazing! But you have to also think about your family and safety and stuff,” the Shaun of the Dead star told NME with a laugh. “Tom never does anything recklessly and all of his stunts are meticulously designed, rehearsed, and trained for. If he does it, it will be really safe… You never know.”

It’s not a bad idea: space might currently be a safer filming location than a soundstage.

(Via NME)

We’re in that special time of year when a great bottle of dark rum is almost impossible to argue with. The sugarcane-based spirit, aged in oak in a tropical climate, just sings with summer night sultriness — lending itself to exceptional cocktails or being taken neat, with a few ice cubes clinking around the glass. It’s like your favorite bourbon turned on its head. Yes, it’s dark. Yes, there are notes of oak and spice. But dark rum is also just a different beast, every bit as nuanced as the best whiskeys on the market.

While the vast majority of rums that we get on our shelves come from countries dotting the Caribbean Sea, rum is actually just as universal as any spirit. Got sugar cane, sugar beets, or molasses? You’ve got the recipe for rum making. For this list, we’re focusing on the bottles that come from closer to home — in order to keep things both inexpensive and accessible. Expect us to widen the net a little further as July fully gets kicking.

The ten bottles below are rums that work wonders in fruit or citrus-forward cocktails, as smooth sippers over ice, or in mixed with a nice splash of bubbly mineral water. They’re also all available for delivery — a perk for those who are still fully homebound on 4th of July weekend.

Cruzan Black Strap Rum

ABV: 40%
Origin: St. Croix, U.S. Virgin Islands
Average Price: $17.46

The Rum:

This rum is deep and dark for one big reason: The addition of blackstrap molasses (which has the lowest sugar content of any molasses) after it’s aged. This Caribbean rum is aged between one and two years in old bourbon barrels. Next, the blenders cut the harsher edges from the sip with the dark molasses. This addition technically makes this a “black” rum, which is necessary for mixing up a Dark ‘N’ Stormy.

Tasting Notes:

The sweetness of this sip is tempered by a sense of fennel and vanilla. That sweetness edges towards high-fructose corn syrup masquerading as maple syrup with hints of spice and coffee bean bitterness. A note of dark spice arrives with more vanilla and a syrup nature on the semi-hot finish.

Plantation Original Dark Rum

ABV: 40%
Origin: Trinidad and Jamaica
Average Price: $20.89

The Rum:

This blend comes from Maison Ferrand (which has announced a forthcoming name change). The French proprietors bring a Cognac sensibility to rum making in the Caribbean. This particular expression is aged for three to five years in new American oak before being blended and transferred to Cognac casks from Maison Ferrand for a final 12 to 18-month finishing.

Tasting Notes:

This is a fascinating sip. The nose opens with a sense of bananas next to rich plums and pods of vanilla. The sip carries touches of orange zest next to cardamon, cloves, and allspice while the sweetness stays hinged to the plummy fruits. Those Christmas spices and oak marry on the end as a billow of smoke brings about a concise final note.

Goslings Black Seal Rum

ABV: 40%
Origin: Hamilton, Bermuda
Average Price: $20.99

The Rum:

Goslings imports rum made in both pot stills and continuous stills. They then age the hot juice in ex-bourbon barrels for an undisclosed amount of time. This iconic rum was the original spirit used in a Dark ‘N’ Stormy, in case you’re looking for something to mix with this one.

Tasting Notes:

Caramel and dark spices ride heavy upfront with a note of dried fruits. The taste then moves toward butterscotch, vanilla, and sharp cinnamon. Finally, there’s a rush of caramel that leads toward more oaky spice and a wisp of fresh herbs.

Blackwell Rum

ABV: 40%
Distillery: Kingston, Jamaica
Average Price: $22.99

The Rum:

This rum — distilled and blended by J.Wray and Nephew — is a Jamaican gold standard. Master blender Joy Spence (of Appleton Estate fame) worked with Chris Blackwell (founder of Island Records) to revive his mother’s recipe for this rum. They ended up with a rum that embraces the classic styles and craft behind great Caribbean dark rum.

Tasting Notes:

Light molasses covered orange peels mingle with dried tobacco and a note of dark spice. There’s a cacao bitterness at play with a dash of fatty nuts, fruit, and smoke. The wood and fruit combine with the spice and sweetness to bring about a pleasant and short finish.

Myers’s Original Dark Rum

ABV: 40%
Origin: Kingston, Jamaica
Average Price: $24.99

The Rum:

This is another classic rum to have on hand for mixing up some cocktails night or day. The rum is a blend of nine Caribbean rums that have been aged for up to four years in old bourbon barrels. The result is a dark and deep rum with a clear Jamaican molasses signature.

Tasting Notes:

Sweet notes mingle next to black pepper and a sense of wet earth. The sip tips very lightly into mild vanilla and a molasses sweetness. The oak takes hold on the finish as the earthiness dries out, leading to a quickly fading end.

Pusser’s British Navy Rum

ABV: 40%
Origin: British Virgin Islands
Average Price: $26.28

The Rum:

This is an English-style navy rum meant to emulate what the British Navy handed out to its seamen every day for centuries. When the rationing of daily rum stopped in the 1970s, Pusser’s arose to recreate the rum with a spirit distilled and aged in Guyana and Trinidad and blended in Barbados.

Tasting Notes:

This rum has a lot going on, which can turn some people off. There’s a certain, tough to pin down, rickhouse funk next to mild spices and vanilla pudding. On the palate, the sip turns toward that funk with notes of spice, sugar cane syrup, more vanilla, dark chocolate bitterness, and a touch of earthiness next to a wisp of smoke. Finally, that funky age mellows to a mild worn leather and pipe tobacco as the wood takes over with a nice hint of spice on the long-lingering finish.

Appleton Estate Reserve Blend

ABV: 40%
Distillery: Appleton Estate, Jamaica
Average Price: $27.99

The Rum:

Remember Joy Spence, mentioned above? She’s been making magic happen at Appleton Estate for a good while now. Although Appleton is in the midst of rolling out a whole new line, including their much anticipated 8-Year-Old expression, this bottle is going to be around for a while. The expression is blended from 20 different rums that aged for up to six years.

Tasting Notes:

Funky old barrel rooms meet dried orange zest, hazelnut, and ginger cake cut with honey. The sip leans towards a matrix of earthiness with caramel notes next to bright fruit and sharp spices. The finish comes up slowly with oak front-and-center but supported by funk, zest, and sweet notes.

Diplomatico Mantuano Extra Anejo

ABV: 40%
Origin: Venezuela
Average Price: $27.99

The Rum:

This Venezuelan rum comes from the foothills of densely forested mountains. It’s a departure from the Caribbean’s gently lapping shores in more ways than one. The rum is distilled in three different ways — by column still, batch kettle still, and pot still — before being aged in both ex-bourbon and ex-single malt barrels. The juice spends up to eight years in those barrels before being blended into the final product. You can sip this one all day, folks.

Tasting Notes:

Prunes dance with oak as dark echoes of spice cut through. Those prunes lead towards an oily vanilla pod and a clear sense of old oak barrels with hints of Christmas spice next to hints of florals and a lingering whisper of smoke. The finish arrives fairly slowly with the plummy nature fading out as the spice ramps up.

Mount Gay Rum Black Barrel

ABV: 43%
Origin: Bridgetown, Barbados
Average Price: $29.99

The Rum:

Mount Gay, the oldest rum distillery in the world, has created a unique and very new expression of rum with their Black Barrel rum. The rum is distilled in double pot and column stills and then aged in ex-bourbon barrels. Finally, the rum is blended and then finished in heavily-charred ex-bourbon barrels, hence the “Black Barrel” moniker.

Tasting Notes:

Toasted oak greets you with a nice dose of orchard fruit and mild spice. That spice leads towards a bourbon caramel sense with a hint of vanilla next to a building sense of spice and oak. The sip ends on a long, spicy note with that oak char adding a dry bitterness underneath.

EDITOR’S PICK: BACARDÍ Reserva Ocho Rum

ABV: 40%
Distillery: San Juan, Puerto Rico
Average Price: $29.99

The Rum:

This expression is what I use when leading rum tastings to give people a baseline of what “good, sippable rum” tastes like. Nothing is off-balance or demands special attention. It spent generations as a private label product, bottled only for the Bacardi family, but they were wise to share it with the world — it’s a massive upgrade to their base-level dark rums.

In short, we’re talking about classic Bacardi rum that gets left alone to stew in a Puerto Rican rickhouse — spending eight long years aging and maturing into this special (and affordable) bottle.

Tasting Notes:

For a rum defined by smoothness, the nose does have a little bit of alcohol punch. After that, I agree with Zach, who says, “dried apricots and plums lead the way towards a clear sense of freshly ground nutmeg.” In other words, aged stone fruit leading toward holiday spices. There’s vanilla and cinnamon, but you don’t sense them as directly as you would with a spiced rum — it’s more like a rum cake where you say to yourself “is there cinnamon and vanilla in here? I’d bet there is!”

On the palate, Zach noted “hints of fresh grass, dried tobacco, and stewed pears leading towards a mix of allspice, cinnamon, and more nutmeg” and… damn, he’s good at this. I totally agree on the dried grass or hay — not barnyard funk, but definitely some age. You get the molasses throughout but it doesn’t hammer you. The finish is allspice and fruit and “fruitcake” — which is, I suppose, both of those things combined. Zach picks up a “whisper of smoke” but for me, what lingers is the molasses.

-Steve Bramucci

Perhaps the worst thing that could’ve happened to Rachel McAdams is The Notebook. I say this with the wistful, nostalgic affection of one who spent her formative pubescent years worshiping that sentimental nightmare of a film. The Notebook sold us many lies as truths — lies my preteen brain was easily fooled by.

A man threatening to commit suicide because a woman he was interested in wouldn’t go out with him? The Notebook told me that was a swoon-worthy story that you’d want to tell your future children. A relationship in which the two people had nothing in common and spent most of their time screaming at each other for trivial miscommunications? The Notebook told me that was passion. You didn’t paint anymore? The Notebook said you were probably bored in your healthy, sustainable relationship. You spent years of your life and all of your money fixing up an old house so your ex-girlfriend would come back to you? The truest gesture of love and commitment.

But the biggest lie was the one The Notebook told us about Rachel McAdams. She’s a gifted actress who, up until her turn as Allie in Nicholas Sparks’ drama, had starred in two fairly popular comedies: the forgettable Hot Chick and the cult-classic Mean Girls. In the latter, the Tina Fey-penned high school saga that served as a spiritual successor to Heathers, McAdams played Regina George, the Queen Bee of the school’s most popular clique, The Plastics. Narcissistic, manipulative, controlling, and petty, Regina George embodied the titular trope, and though we rooted for Lindsey Lohan’s naïve newcomer to beat her at her own game, years later, it’s Regina George we can’t stop quoting. It’s “So you agree, you think you’re pretty,” and “Stop trying to make fetch happen” that we remember. And that’s because of Rachel McAdams.

After Mean Girls came The Notebook, a cultural phenomenon that defined idyllic romance for a generation of idiots (myself included) and pigeonholed her career with other weepy relationship odes. The Time Traveler’s Wife, where she played a lovestruck woman saddled to a man with the frustrating affliction of spontaneous time travel. The Vow, where she inhabited the role of a woman who suffers a troubling case of amnesia after an accident and can’t remember her own husband. About Time, where she plays a woman with a (different) time-traveling boyfriend, who risks their relationship for his own gain.

A theme had emerged. Of course, because McAdams is so undeniably talented, she also starred in films that didn’t trade off tragic, troubled love stories. Spotlight, True Detective, Red Eye — these films gave us a different side to the woman who once got a man, on camera, to tell her he was a bird, too. But for a long time, when you thought of Rachel McAdams, you thought of these melodramas, these date-night flicks, these movies you’d put on when you needed a good cry. When you thought of Rachel McAdams, you thought of a woman who once launched herself at Ryan Gosling on the MTV Movie Awards stage. But now, you should think of Rachel McAdams as a comedy icon, because that’s what she really is.

Rachel McAdams is one of those rare chameleons who can seamlessly shift from the heavy to the humorous so yes, she’s terrific in The Notebook and To The Wonder and Disobedience. But she’s also uniquely identifiable in her comedic roles, like the ones in Wedding Crashers or Mean Girls or the severely underrated Game Night, or, most recently, Will Ferrell’s Eurovision Song Contest: The Story Of Fire Saga.

In fact, her filmography is littered with comedy, whether she’s played bit parts as a crush-worthy bridesmaid to Owen Wilson’s imposter or the black sheep suffering through another holiday get-together in The Family Stone. McAdams has slowly been working her way to the kind of balls-out comedy on display in Netflix’s Eurovision parody with early entries that relied on her relative unknown status. She was a fresh face in Wedding Crashers, a witty love interest in Guy Richie’s Sherlock, and a positive-thinking peacemaker in Morning Glory. In these films, the comedy was happening around McAdams and she, more or less, reacted to it.

But as she’s become more recognizable, taken on franchises and genre films and indies that people like to fawn over on the festival circuit, she’s broadened her comedic horizons too, banking on her likability and pushing her limits to include physical gags and ridiculous costumes and eccentric, over-the-top characters normally reserved for the established comedic geniuses — the Ferrells and Steve Carells and Seth Rogens.

In Game Night, for instance, McAdams plays a fairly straightforward character, a wife who hosts a game night with her husband that quickly spirals out of control. Jason Bateman plays her partner in crime, and they do commit crimes, eventually, but only after they’re taken hostage and thrown into the middle of a black market deal that involves underground fight clubs and Bulgarians and moles in the police force. McAdams plays the plucky, ultra-competitive foil to Bateman’s stiff-lipped, dry-witted half, and she’s tasked with the heavy lifting as Bateman leans on his trademark sarcasm, leaving her to pull off the more exaggerated bits. She does, elevating a hostage scene with a wildly funny dance number that sees her character whipping a “fake” gun around and shoving it into men’s faces before accidentally shooting Bateman’s character and trying to clean his wound with a “nice chard,” a Good Housekeeping recipe, and a squeaky toy. But she’s also able to easily switch from these more ridiculous moments, like being flattered by a henchman holding her at gunpoint, to emotional interactions that carry weight, like when the movie’s main couple open up about their infertility issues.

That emotional heft that McAdams brings to her funnier roles is, oddly enough, what makes her such a compelling comedic actress. It’s on display in Game Night, and also in her Netflix Eurovision parody, where she plays one half of an Icelandic pop duo with dreams of winning the biggest singing competition on the planet. The movie is mid-level Ferrell funny, a cross between Pitch Perfect and Blades of Glory, that’s at its best when it’s not focused on its male lead.

Instead, it’s McAdams’ Sigrit, a wide-eyed, optimistic woman hopelessly in love with her best friend and willing to do anything to help him achieve his goal, that becomes the character you root for, and laugh at, the most. Armed with a heavy accent, a childlike sense of wonder, and an unflinching belief in the power of elves, Sigrit is the better half of this singing group — and McAdams commits to her, eccentricities and all, in a way that makes even the weirdest plot points believable. Her comedy serves a dual purpose — we cackle at her desire to match Lars’ bulge with her own camel toe, or when she finally expresses her anger with a well-timed “sex nuts” jab, but even when she’s making a complete fool of herself, McAdams is also giving us character development, showing us a woman finally beginning to search for her own purpose in life.

So maybe McAdams isn’t just a great dramatic actress or a comedic mastermind. Maybe she’s both, and we’re only now starting to realize it. I blame The Notebook.

Father John Misty’s latest record, God’s Favorite Customer, was released just about two years ago. While the singer hasn’t shared any information about his next studio release, Father John Misty is still debuting fresh music: The singer compiled a handful of covers for the EP Anthem +3, which will benefit select charities.

Anthem +3 features covers of songs by Leonard Cohen, Link Wray, and Cat Stevens. The four-track effort will see an early release via Bandcamp on a day the platform is waiving their fees. Father John Misty will donate proceeds earned from the EP to CARE Action, an international humanitarian organization fighting global poverty, and Ground Game LA, a community-driven organization dedicated to building power for the residents of LA.

Father John Misty’s Anthem +3 marks the second effort released in recent months that aims to raise funds for charity. Most recently, the singer shared the live album Off-Key In Hamburg as a way to assist musicians affected by the pandemic. Also released through Bandcamp, all proceeds from the live album went to MusiCares’ COVID-19 relief project, which provides financial assistance to musicians in need.

Check out Father John Misty’s Anthem +3 cover art and tracklist below.

1. “Anthem (Leonard Cohen)”
2. “Fallin’ Rain (Link Wray)”
3. “Trouble (Yusuf / Cat Stevens)”
4. “One Of Us Cannot Be Wrong (Leonard Cohen)”

Anthem +3 is out 7/3 on Bandcamp and 7/14 everywhere via Sub Pop. Pre-order it here.

St. Vincent has done a lot of different things in her career and explored a myriad of musical styles. Her brain would be an interesting one to pick through, and she is set to offer a look at her process and career as part of Audible’s Words And Music series. In St. Vincent: Words & Music, the artist will discuss her influences, lyrics, and the “discovery of her authentic self.” The release date for this installment has not yet been revealed.

St. Vincent said of the release, “Life is strange and full of uncertainty right now. But music is a constant. Music transcends the chaos. It’s always been there for me when I’ve needed it — whether in times of fear, heartbreak, anger, joy. So I’m thrilled to be working with Audible to share my story and my music, especially at a time when music is such a crucial part of coping and getting through these unprecedented days.”

A previous installment of the series recorded in 2018 at the Minetta Lane Theatre in Manhattan featured Patti Smith, and it included “original spoken-word stories from her life, interwoven with the music of her beloved catalogue, played live by Smith.” Alanis Morissette and Smokey Robinson are set to be featured in upcoming editions.

Roc Nation has officially canceled its Made In America festival for 2020. An update on the promoter’s Instagram provides a statement on the cancelation as well as the new dates for 2021 — over Labor Day Weekend. It appears that the reasoning for the final cancelation is two-fold: firstly, to address the risk from the COVID-19 coronavirus outbreak and secondly, due to the protests against police violence that swept the nation in May and June, continuing to this day.

“Let’s focus our support on organizations and individuals fighting for social justice and equality in our country,” reads the post’s caption. “We look forward to seeing you next year.” The festival’s 2019 lineup featured Cardi B and Travis Scott as headliners, with performances from Alina Baraz, Anderson .Paak, Buddy, Charly Bliss, Gucci Mane, IDK, James Blake, Kaskade, Lil Uzi Vert, Lizzo, and more.

The full statement reads:

“2020 is a year like no other. We are in a pivotal time in this nation’s history. Collectively, we are fighting parallel pandemics, COVID-19, systematic racism and police brutality. Now is the time to protect the health of our artists, fans, partners and community as well as focus on our support for organizations and individuals fighting for social justice and equality in our country. Therefore, the Made In America festival will be rescheduled for Labor Day Weekend 2021.

We look forward to working alongside the Mayor’s office and returning to the wonderful city of Philadelphia next year. Please hold onto your tickets, as they will be valid for next year, and we will be sharing additional information as it becomes available via our website and social media.

If anyone would prefer a refund, an email will be sent to request one. For any further ticket inquiries, please reach out to the point of purchase.

Made In America joins a growing list of festivals that have canceled which includes Austin City Limits, Bonnaroo, Coachella, Dreamville, Life Is Beautiful, and Pitchfork.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

The self-titled album from Boygenius — the supergroup featuring Phoebe Bridgers, Lucy Dacus, and Julien Baker — was one of 2018’s best releases. It left fans wanting more, but given that the three artists are all involved in their own successful other endeavors, it’s not clear when or if the trio will reconvene for more music. Whatever the case may be, they’re about to satisfy fans with previously unheard material: They’re releasing a collection of demos on Bandcamp, which (like Pup’s live album) will only be available for one day.

The release includes versions of “Bite The Hand,” “Me & My Dog,” and “Stay Down.” The tracks were recorded as voice memos, during a rehearsal on June 5, 2018, the day before the group entered the studio to record the EP. Proceeds from the release will be split between three charities chosen by the band members. Bridgers’ donations will go towards Downtown Women’s Center, Dacus’ will benefit Mutual Aid Disaster Relief Richmond, and Baker will donate to OUTMemphis.

There are a couple more de facto new Boygenius songs out in the world as well. On Bridgers’ recently released new album Punisher, Dacus and Baker feature on “I Know The End” (alongside Conor Oberst) and “Graceland Too.” The trio also featured on Hayley Williams’ new album, on the song “Roses/Lotus/Violet/Iris.”

Meanwhile, Bridgers recently released a similar collection of demos to benefit bail funds.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.