Posts tagged with "NME"

Taylor Swift illustration by Heather Skovlund for 360 Magazine

Fearless (Taylor’s Version)

FEARLESS (TAYLOR’S VERSION) BOWS AT #1 IN THE U.S., UK, CANADA, AUSTRALIA & MORE AND BECOMES TAYLOR SWIFT’S 3RD #1 ALBUM IN LESS THAN A YEAR & THE BIGGEST COUNTRY ALBUM DEBUT SINCE 2015
 
BIGGEST FIRST-WEEK DEBUT OF 2021 & BIGGEST FEMALE COUNTRY STREAMING WEEK EVER!

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Returning to #1 around the world and breaking numerous records, Taylor Swift has made history yet again with Fearless (Taylor’s Version). Notably, she’s the first woman with three new No. 1 albums in less than a year. Moving over 1 million units worldwide, Fearless (Taylor’s Version) logged the “biggest first week debut of any album this year,” “the biggest first week debut for a country album since 2015” and “the biggest female country streaming week ever. Fearless (Taylor’s Version) is the only No. 1 album of its kind: a re-recording of an artist’s (own or another’s) previously released album.
 
Generating 50 million-plus streams on release day, it also achieved “the biggest first day streaming debut for any album on Spotify this year” and marked her fourth consecutive album to exceed 50 million Spotify streams in 24 hoursFearless (Taylor’s Version) also becomes the first country album by a female artist to reach #1 on Apple Music’s US Albums chart.
 
In addition to capturing #1 on the Billboard Top 200, #1 on the Billboard Top Album Sales chart and #1 on the Billboard Country Albums chart, it went #1 in the UK, Canada, Australia, New Zealand, and Ireland. It debuted Top 5 in Belgium, Norway and the Netherlands and in Germany it was the biggest debut by a country album in the history of Germany’s album chart. Fearless (Taylor’s Version) charted at #1 on the iTunes Top Overall Albums Chart in 61 countries.
 
Fearless (Taylor’s Version) stands out as Taylor’s 4th #1 album in less than two years with the “3 biggest debuts since July 2020” with folkloreevermore, and Fearless (Taylor’s Version). It also emerges as “the biggest female country album debut since the inception of the Billboard Top 200 album-based conception charts in 2014.” Fearless (Taylor’s Version) is the eleven-time GRAMMY Award-winning, record-breaking superstar’s 9th #1 Album.
 
Taylor entered rarified air across the pond as Fearless (Taylor’s Version) became her 3rd album to chart #1 during its debut week in less than a year in the UK. The Beatles had previously accomplished this incredible feat the fastest in 364 days, but Taylor eclipsed the speed of The Fab Four as she reached this benchmark and accumulated three #1’s in just 259 days—a difference of 105 days.
 
Not only did it become her 7th #1 in the country, but Taylor became “the first and only solo artist ever to claim three UK #1 albums in less than 12 months during the 21st century” and “the first ever international artist and first ever female artist to land three #1 albums in the UK within one year in history.”
 
Physical sales of Fearless (Taylor’s Version) outsold the remaining combined total physical sales of the UK Top 15. The permanent downloads also bested the remaining combined total permanent downloads of the Top 70. She shattered her own record for the second time in the last year as “the first and only female artist to garner 7 #1 studio albums in the UK this century. Additionally, she has gathered “the 3rd Most #1 albums in the UK by a female artist.
 
Down Under, Taylor is now “the first artist to release three #1 albums in a 12-month period in Australia.” Taylor is the first artist to have three different albums top the ARIA Charts in a twelve-month period. She bests her own record of “the shortest span of #1 albums in Australia” with only 17 weeks between evermore and Fearless (Taylor’s Version). Her previous record was 20 weeks between folklore and evermore. With eight total #1 albums in Australia, she is second for “female artist with most #1 albums” only behind Madonna and just behind Eminem for “most consecutive #1 albums.” At radio, “Mr. Perfectly Fine (Taylor’s Version)” bows in the Top 10 on the Airplay Chart.

REVIEWS OF FEARLESS (TAYLOR’S VERSION)

  • A Rating” – The A.V. Club, Saloni Gajjar
  • “5/5 Stars” – The Daily Telegraph, Neil McCormick
  • “Fearless was always an exceptionally fine album of country-pop songs, detailing the romantic fixations of a wholesome teenage American girl on the verge of adulthood, and guess what? It still is.” – The Daily Telegraph, Neil McCormick
  • “4/5 Stars” – Rolling Stone, Jonathan Bernstein
  • “Her thirtysomething voice is richer, deeper, and more sure of itself.” – Rolling Stone, Jonathan Bernstein
  • “There are the songs that feel more moving now than they did 13 years ago.” – Rolling Stone, Jonathan Bernstein
  • “4/5 Stars” – The Guardian, Alexis Petridis
  • “Fearless is the kind of album in which fans have a genuine emotional investment.” – The Guardian, Alexis Petridis
  • “She’s changed from a talented kid with a guitar to one of today’s biggest superstars.” – USA Today, Hannah Yasharoff
  • “The new album is really well done.” – Entertainment Weekly, Lauren Huff
  • “Fearless (Taylor’s Version)” Is Even More Beautiful Than The Original Album” – Buzzfeed, Ryan Schocket
  • “Taylor’s vocals are undeniably stronger, smoother, and more connected than ever.” – Buzzfeed, Ryan Schocket
  • “The vault songs are making everyone question why the album wasn’t 27 tracks long to begin with.” – Buzzfeed, Ellie Bate
  • “Taylor Swift’s Fearless Re-Recording Is a Thrilling Timewarp.” – SPIN, Bobby Olivier
  • “4/5 Stars” – i Newspaper, Sarah Carson
  • “There are lyrics throughout Taylor Swift’s breakthrough record Fearless that nearly 13 years later, feel prophetic.” – i Newspaper, Sarah Carson
  • “There’s something really special about listening to Taylor sing these songs knowing the huge distance between where she is now and who she was when she wrote them.” – TIME, Annabel Gutterman
  • “I love that this re-recorded album is essentially a love letter to being a teenage girl. The world still dismisses teenage girls as not serious enough, too dramatic, and overall too much. Adolescence is often looked back on with embarrassment and shame. But these songs make me want to give my former 14-year-old self a hug and tell her she was doing just fine.” – TIME, Samantha
  • “It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears.” – Variety, Chris Willman
  • “Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not.” – Variety, Chris Willman
  • “It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close.” – Variety, Chris Willman
  • “4/5 Stars” – NME, Hannah Mylrea
  • “‘Fearless (Taylor’s Version)’ both celebrates and stays true to Swift’s ‘Fearless’-era.” – NME, Hannah Mylrea
  • “Swift never cringes away from her younger self. Instead, she revisits the songs with kindness and affection, celebrating the success of her teenage releases.” – NME, Hannah Mylrea
  • “Taylor Swift’s Fearless album proves her songs were written to last.” – The Independent, Roisin O’Connor
  • “We can’t help but be impressed…” – Evening Standard, David Smyth
  • “Taylor Swift has taken control.” – Forbes, Abigail Freeman
  • “ALBUM OF WEEK: The real treats are the extra tracks, previously unreleased outtakes from the Fearless sessions. Maren Morris duets on the gorgeous You All Over Me, Keith Urban crops up and Mr Perfectly Fine is the banger that should have shown 13 years ago why country alone could never contain Swift’s talent.” – The Sunday Times, Lisa Verrico
  • “I immediately went to the chorus of “Fifteen,” one of my 2000s pop high-water marks, to see if I’d get chills. Good news: I did. Felt that gut punch during “White Horse.” “You Belong With Me” had that crucial air of resignation.” – The New York Times, Jon Caramanica
  • “As she dives back into her past work, it’s another reminder of what she brought to the genre — and what it lost when she moved on.” – The Washington Post, Emily Yahr
  • “The redone tracks from the original release, which make up the album’s first portion, are almost uniformly better than their forebears: warmer, crisper, more clearly enunciated. They sound newer and, at the same time, more lived-in.” – The Washington Post, Allison Stewart
  • “Taylor Swift releases a ‘perfect replica’ of Fearless.” – BBC, Mark Savage
  • “Damn, this album holds up – not only to the hype of its initial release, but despite that, beyond that.” – Consequence of Sound, Katie Moulton
  • “8/10” – The Line of Best Fit, Ross Horton
  • “4/5 Stars” – The Times, Will Hodgkinson
  • “Swifties grab your tissues, the release of Taylor Swift’s Fearless (Taylor’s Version) is finally here in all its nostalgic and emotional glory.” – Wonderland, Staff Writer
  • “8/10” – Clash, Lucy Harbron
  • “Like a restored photograph brightening from black and white into colour, Fearless (Taylor’s Version) is the same, but better.” – Clash, Lucy Harbron
  • “It’s the latest evidence that Swift is not just fearless but also relentless.” – Stereogum, Chris DeVille
  • “8/10” – Gigwise, Kelsey Barnes
  • “Swift is creating a bridge between two worlds; one where she’s merging older, timeless songs with a mature voice and outlook.” – Gigwise, Kelsey Barnes
  • “4/5 Stars” – The Evening Standard, David Smyth
  • “A masterclass in classic Nashville songwriting, from the searing melodrama of Love Story to the breakdown of a relationship in Breathe.” – The Times, Will Hodgkinson
  • “5/5 Stars” – The Sun, Simon Boyle
  • “This is brilliant pop” – The Sun, Simon Boyle

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Lil Baby illustrated by Heather Skovlund for 360 Magazine

Lil Baby Performing at Grammy’s

PERFORMING ON THE 63rd ANNUAL GRAMMY’S

AIRING SUNDAY, MARCH 14, 8 PM ET / 5 PM PT ON CBS

NOMINATED FOR TWO GRAMMY AWARDS:

BEST RAP SONG AND BEST RAP PERFORMANCE FOR THE BIGGER

The Recording Academy announced that Lil Baby will perform at the 63rd Annual Grammy Awards. The Awards will air on Sunday, March 14th, at 8 p.m. ET / 5 p.m. PT on CBS Television Network from the Los Angeles Convention Center in downtown LA.

Lil Baby has been one of the most dominant and critically acclaimed names in rap since his first release in 2017. In February 2020, he released My Turn, which entered The Billboard 200 at #1, hovered in the Top 5 for 14 weeks, and then returned to the #1 selling album of any genre in 2020.

Lil Baby is as authentic as they come. At just 26 years old, he is unapologetically himself, speaking his truth in his lyrics and that connects him to listeners like no other. Last June as the nation protested, Lil Baby dropped a powerful record “The Bigger Picture”; articulating frustration, confusion, and a call to stand up for something much bigger than himself.

My Turn held 14 records simultaneously on The Billboard Hot 100 and Lil Baby has recently surpassed musical titans Prince and Paul McCartney among others in Billboard Hot 100 hits in his young 3-year career. To date, Baby’s catalog reached 22 billion global streams, scored 8 #1 songs at Urban Radio, won the BET Award for Best New Artist, named Vevo’s Top Performing Hip-Hop Artist of 2020, named MVP on Rap Caviar, and won the top award of Global Artist of the Year at the Apple Music Awards. The Bigger Picture was nominated for two Grammy’s (Best Rap Performance and Best Rap Song). He has seen widespread critical acclaim from the likes of GQ and Vanity Fair and has graced the covers of Rolling Stone and NME. With such a rapid rise and a relentless stream of critical and commercial hits, it’s clear that Lil Baby is one of the greatest modern success stories in hip-hop.

Spotify illustration for RADAR by Heather Skovlund for 360 MAGAZINE

Spotify Announces girl in red as Its Next RADAR Artist

Today, Spotify’s global emerging artist development program, RADAR, has announced its latest artist partnership for the US: the Oslo-based pop sensation, girl in red, aka Marie Ulven.
girl in red has also just announced her debut album, if i could make it go quiet, out April 30th, and released its accompanying first single, “Serotonin.”  The result of a collaboration with FINNEAS and a huge pop anthem that speaks to Ulven’s struggles with mental health, the arena-ready tune can be heard HERE

Following her breakout single, “i wanna be your girlfriend,” which has been streamed over 150 Million times on Spotify, girl in red’s music has adorned some of Spotify’s most popular playlists including New Music Friday, LOREM, Oyster, Ultimate Indie, Out Now, and many more — 364 playlists, to be exact! Her cover of Maggie Rogers’s “Say it” for Spotify’s Studio Oyster has been beloved by media and fans around the world, as well as by Rogers herself. With 7 Million monthly listeners on Spotify, her music has also been celebrated by press outlets around the world like The New York Times, Paper Magazine, NME, DAZED, Rolling Stone, Pigeons & Planes and more. 

Today’s announcement is accompanied by new RADAR photos of girl in red located HERE and a blog post on Spotify’s For The Record newsroom blog HERE that includes a full rundown of the program, and a Q&A with the artist, which you should feel free to use for your own coverage.  
girl in red’s appointment to the RADAR program will include features in the RADAR playlist, a Spotify Singles recording, promotional support for her upcoming releases, a full suite of out-of-home advertising and on-platform marketing, and social promotion. girl in red’s RADAR campaign will also include a forthcoming mini-documentary to premiere later this year.
Says Ned Monahan, Spotify’s Head of Global Hits: “We’ve been closely watching girl in red’s steady ascent over the past few years — she’s built a tight-knit community of devoted fans in a remarkably organic way, based on her self-assured songwriting and deeply personal lyrics — all as an independent artist.  We’re beyond excited for her debut full-length, and look forward to helping with her global ascent via RADAR.”

When asked what she looks forward to about being a RADAR artist, girl in red says: “Taking over the world! That’s what I’m looking forward to. Having my music in people’s ears— that’s like the coolest thing ever. RADAR, then world domination!”

girl in red’s appointment as the fifth US RADAR artist follows the success of Spotify’s previous US RADAR artists Alaina Castillo, J.I The Prince of N.Y, The Kid LAROI, and Flo Milli, all joining 175 RADAR-affiliated emerging artists around the world. Last fall, Spotify celebrated the program’s six month anniversary with the launch of its global RADAR hub on-platform.

The program has propelled the success of artists around the globe like Rina Sawayama, Young T & Bugsey,Zoe Wees, Lous and the Yakuza, and more.

Madison Beer – BOYSHIT

Today sees Madison Beer release her latest single “BOYSHIT” via Epic Records.With the release comes Madison’s Vevo LIFT campaign, which features a performance of the single, along with “Selfish”, her fastest ever US certified gold record, and a short film on the artist titled “Becoming”. “BOYSHIT” is taken from Madison’s forthcoming debut album, Life Support, out 26th February 2021.

“’BOYSHIT’ is one of the last songs I recorded for my album, and it was just kind of a build up after this really long year.” says Madison. “It’s simply about knowing your worth and when to leave a situation. With the play on “bullshit” I figured it was the perfect time to use the age old saying about an immature or disrespectful boyfriend, ‘he’s not a man, he’s a boy,’ but it then flourished into more. This isn’t as simple as a childish man, it’s deeper than that. Anyone can behave in a “BOYSHIT” manner and I think there’s something to be said about knowing when enough is enough and when you’re truly just feeding into nonsense, I think a lot of that is knowing your worth. This song is meant to uplift and inspire people, of all genders, to know when it’s time to stop putting up with boyshit.”

“BOYSHIT” is the latest single from Madison’s highly anticipated debut album, Life Support, out 26th February 2021. The album is a strong personal and artistic statement that sees Madison where she thrives – commanding creative control through writing her own songs, producing and creating her own visuals. Life Support features previous releases “Good In Goodbye”,“Selfish”, “Stained Glass” and “Baby” which have a combined total stream count of over 442 million. Globally, Madison has nearly 3 billion streams across her catalogue.

“Writing songs is like therapy for me.” says Madison. “That’s why this album is called Life Support. It helped me get rid of the darkness and see the light. My inspirations sonically are really diverse. I guess I’m not an easy artist to pigeonhole, and a lot of these songs are like nothing I’ve ever attempted before. All of me is laid bare on this album; it’s been a really fulfilling experience to create something that feels so true to myself. I’m grateful to my fans who have stuck by me since the beginning. Life Support has been a long time coming, and I’m just so excited for them to see what I’ve been working on.”

Vevo has tapped Madison for their coveted LIFT campaign, out now. The 3-part series features a performance of “BOYSHIT”and “Selfish” alongside a short film titled “Becoming”. The campaign takes viewers further into the mind of the artist with striking visuals and gripping storytelling, and further cements Madison as an artist to watch for 2021. Vevo LIFT alumni include Billie Eilish, Halsey, Jorja Smith, and SZA.

Prior to signing with Epic Records late last year, Madison Beer achieved unprecedented success as an independent artist with her partner First Access Entertainment, having sold over 1 million records in the UK alone. Her debut EP As She Pleases made her the first independent female solo artist to break into the Top 20 radio charts, after having debuted in the Top 5 on iTunes in 18 countries and in the Top 10 in 42 countries worldwide. Following the release of As She Pleases Madison featured on Platinum Certified UK Top 10 hit “All Day and Night” by Europa and “Pop/Stars” by K/DA which topped Billboard’s world digital song sales chart. She’s attracted the endorsement of Time, NME, Complex, The Guardian, Billboard who named her among its coveted “21 Under 21” list and Rolling Stone who hailed her as a “rising pop star”.

LISTEN TO/ SHARE MADISON BEER’S “BOYSHIT” HERE

WATCH/ SHARE MADISON’S VEVO LIFT CAMPAIGN LATER TODAY HERE

FOLLOW MADISON BEER HERE:

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Rising artist Oliver Malcolm takes a trip back to his home country to shoot a new music video, “The Machine.”

Oliver Malcolm – The Machine

Rising artist Oliver Malcolm takes a trip back to his home country to shoot a new music video, “The Machine.”Continuing his love for the DIY approach, Oliver shot the video first-person style with friends and features his high energy personality and eclectic creative voice — watch it above or here now:

Watch “The Machine” here:

The track first premiered on BBC Radio 1’s Indie Show with Jack Saunders, who delved deep into the meaning behind the track. Oliver tells the radio host that the lyrics revolt against the social institutions that prioritize material and financial gain above all else, transforming their subjects into simple cogs in “The Machine.” The song was a playlisting favorite when it was released earlier this month including being featured on the cover of Amazon Music’s “Breaking Alternative” playlist.

About Oliver Malcolm 

Oliver Malcolm got his start early, teaching himself how to spin records at 12 years old. Shortly after, he downloaded Logic and taught himself how to produce – working with IDK, Aluna George, Joey Bada$$, Jay Rock, Masego Tinashe and more. Now twenty, Oliver has developed his own voice. Touching everything from the production, vocals, songwriting, engineering, mixing, and mastering,  Oliver’s sound is unique and does not fit the mold of one genre. A multidisciplinary at heart, this is just the beginning of music lovers can look forward to from the new artist.

Praise for Oliver Malcolm: 

“Oliver Malcolm is the dynamic rising star ready kick up a storm with his diverse, new punk-indebted EP” — NME

“With its deep bassline and bluesy melodies alchemizing jazz and pop influences, he crafts an almost tangible atmosphere of melancholy [in “Helen”] as pleas to a woman echo throughout” — Pigeons & Planes, Best New Artist

“The drums lurch toward the offbeats, some looped guitar picking tugs against that pulse and Malcolm’s voice is a rattled, quavery moan…Everything stays off-kilter for the two and a half paranoid minutes of “Switched Off” by Oliver Malcolm” — New York Times, Playlist

“Oliver Malcolm’s ‘Switched Up’ Is Intoxicating… new single ‘Switched Up’ is a mesh of influences, a confluence of sounds, a mosaic of techniques.” — CLASH

“A lot of artists claim genre-blending style, but Malcolm’s is altogether impossible to define. Is it alt-blues? Dark electro-pop? Folk-hip-hop? Does it matter?” — TIME Magazine, Best New Song

“The hip-hop producer-turned-twisted musical anarchist is making songs for nobody but himself. You’ll love them anyway.” — i-D Magazine

Gracie Abrams – minor

Today, emerging songwriter Gracie Abrams shares her highly awaited debut project, minor. A stunning showcase for her nuanced lyricism and mesmerizing vocals, the seven-song project features Abrams’s acclaimed singles “21,” “I miss you, I’m sorry,” and “Long Sleeves.” minor is available now via Interscope Records at all digital retailers HERE.

Today also marks the premiere of the video for “Friend,” a particularly poignant track from minor. The beautifully shot visual follows the 20-year-old artist as she rides around Los Angeles alone, journeying through the city’s enchanted outskirts, chaotic freeways, and lonesome streets while candidly sharing her story of betrayal and loss.

Watch the video for “Friend” by Gracie Abrams HERE.

Executive-produced by Blake Slatkin, minor spotlights the quietly captivating artistry that’s won Abrams praise from outlets like NME (who hailed her “painfully honest tales of heartbreak draped in delicate melodies that carry much more intrigue than the usual run-of-the-mill singer-songwriter”) and i-D (who noted that her voice “cradl[es] the power to break even the toughest heart”). With each song centered on her unguarded yet finely layered songwriting, minor finds Abrams collaborating with producer/songwriters like Joel Little, Benny Blanco, Jim-E Stack, Sarah Aarons and Caroline Pennell.

In a full-circle moment for Abrams, minor features the first of her songs to draw widespread attention: the project’s bittersweet title track, penned by Abrams at age 17. Now a fan favorite, after Abrams shared clips of the song on social media, “minor” offers an early glimpse into the graceful balance of raw outpouring and sharply detailed self-reflection that would come to define her music. That approach soon proved undeniable to listeners around the world, as evidenced by “21” and “I miss you, I’m sorry” each recently surpassing 10 million streams on Spotify.

Through the years, Abrams has shared homespun clips of her songs on social media, amassing over 290k followers on Instagram before she’d even released her first track.

Named an artist to watch by Pigeons & Planes, Fader, and iD — and crowned one of seven breakout female musicians by Vogue UK — Abrams considers herself a songwriter, first and foremost. After writing her first song at the age of eight, she went on to earn a devoted following on the strength of her indelibly personal lyrics and magnetic vocal delivery. Last fall, Abrams made her official debut with “Mean It” — an intensely vulnerable piece hailed by Ones To Watch as “pure, sentimental, and undeniably beautiful.”

Follow Gracie Abrams: Instagram | Twitter | Youtube

Instrument illustration by Ivory Rowen for 360 Magazine

Bob Dylan – “Rough and Rowdy Ways”

Bob Dylan’s new album, Rough and Rowdy Ways has debuted in the Top Ten in 13 countries, including #1 chart entries in the United Kingdom, Ireland, Norway, The Netherlands, New Zealand, Germany and Switzerland, #2 positions in The United States, Australia and Belgium, #3 in Sweden, and #4 in France and Italy. The album’s #2 entry in the U.S. on Billboard’s Top 200 is Dylan’s highest chart debut in this country since 2009 and marks the artist’s 18th studio album to debut in the U.S. Top 10. Rough And Rowdy Ways has also debuted at #1 on Billboard’s Top Album Sales Chart.

The 10-track Rough and Rowdy Ways is Bob Dylan’s first album of new songs since becoming the only songwriter to receive the Nobel Prize for Literature in 2016; an award bestowed upon him by the Swedish Academy “for having created new poetic expressions within the great American song tradition.” Critical response to Rough and Rowdy Ways has been rapturous, with many calling the album a masterpiece and one of the strongest works in Dylan’s canon.

Bob Dylan has released seven studio albums within the past 23-years; a creative span that also included the recording of an Oscar- and Golden Globe-winning composition, “Things Have Changed,” from the film Wonder Boys, in 2001; a worldwide best-selling memoir, Chronicles Vol. 1, which spent 19 weeks on the New York Times Best Seller List, in 2004 and was recently named the greatest rock memoir of all time by Rolling Stone. He is the recipient of the Officier de la Legion d’honneur in 2013, Sweden’s Polar Music Award in 2000, a Doctorate from the University of St. Andrews in Scotland, and numerous other honors.

Bob Dylan has sold more than 125 million records around the world. Rough and Rowdy Ways is the artist’s 39th studio album.

Stream Rough and Rowdy Ways: Apple Music, Spotify, YouTube

The Critics Have Listened:

“A testament to his eternal greatness…. Rough and Rowdy Ways might well be Bob Dylan’s most consistently brilliant set of songs in years: the die-hards can spend months unravelling the knottier lyrics, but you don’t need a PhD in Dylanology to appreciate its singular quality and power.” — Alexis Petridis, The Guardian

“True to form, Dylan surprises yet again by delivering a late-career masterpiece with Rough and Rowdy Ways.  It’s a moody, reflective, meditative, befuddling, funny and awe-inspiring turn for the Nobel Prize winner. Rich with biblical and pop culture references, at its core Rough and Rowdy Ways is a record on the borderline of this world and the next, wherever or whatever that may be….The wait was worth it.” — Scott Bauer, AP

“It’s not merely the novelty of new Bob songs that offers comfort in this black swan moment, it’s a set of songs that provides inspiration when it’s in short supply. Call it a vaccine against culture’s shrinking expectations and the subsequent sapping of spirit. or just call it great music….Contradiction has always lived comfortably in Bob Dylan’s work – more evidence of the vast scope of his artistic vision. What’s extraordinary is how it continues to expand, containing multitudes no one else thought of.” — Michael Simmons, Mojo

“A savage pulp-noir masterpiece….A word of advice: Don’t mess with Bob Dylan, who, at 79, rips, snorts and cackles through his new album like a man with something — or absolutely nothing — to prove….Rough and Rowdy Ways rolls out one marvel after another.” — Mikael Wood, Los Angeles Times

“When Dylan embarked on his musical journey as a young man in the Sixties, he forged an almost completely new type of song, open and multifarious, that became a new kind of standard…songs that defiantly inhabit his own myth, shifting perspective between his idiosyncratic views on the world and the world’s views on him.  Almost 60 years since we first heard from him, the old protest singer is still composing extraordinary anthems for our changing times.” — Neil McCormick, The Telegraph

Rough and Rowdy Ways is his first batch of new songs in 8 years, and it’s an absolute classic—it has the bleak majesty of latter-day Dylan albums like Modern Times and Tempest, yet it goes beyond them, tapping even deeper into cosmic American mysteries….his creative vitality remains startling—and a little frightening….But he refuses to rest on his legend. While the world keeps trying to celebrate him as an institution, pin him down, cast him in the Nobel Prize canon, embalm his past, this drifter always keeps on making his next escape. On Rough and Rowdy Ways, Dylan is exploring terrain nobody else has reached before—yet he just keeps pushing on into the future.” — Rob Sheffield, Rolling Stone

“With Rough and Rowdy Ways, he’s produced arguably his grandest poetic statement yet, a sweeping panorama of culture, history and philosophy peering back through assassinations, world wars, the births of nations, crusades and Biblical myths in order to plot his place in the great eternal scheme…. It would be foolish indeed to assume that Rough and Rowdy Ways is Dylan’s last word, but it’s certainly a historic address.” — Mark Beaumont, NME

“Truth is the talisman, tell it like it is. And that is what Dylan does….Rough and Rowdy Ways is exceptional.  If it were a painting, I’d call it a masterpiece.” — Will Gompertz, BBC

Rough and Rowdy Ways, an album that somehow manages to sound like nothing [Dylan] has ever done before, and that looks back across a long and hard-fought life while still insisting on always looking forward….The songs reveal an astonishing intensity and hunger, and a consistency that marks the album as one of Dylan’s major works….What leaps off of Rough and Rowdy Ways is Dylan’s blazing sense of purpose and focus. The man is not bullshitting. It comes through, full of humor and rage and heartbreak, in every word as they are written and sung.” — Alan Light, Esquire

Rough and Rowdy Ways hits hard.  [It’s] a gruesome, crowded, marauding album that feels unusually attuned to its moment….Dylan’s vast and intersectional understanding of the American mythos feels so plainly and uniquely relevant to the grimness and magnitude of these past few months. As the country attempts to metabolize the murder of George Floyd, it is also attempting to reckon with every crooked, brutal, odious, or unjust murder of a black person—to understand a cycle that began centuries ago and somehow continues apace. What is American racism? It’s everything, Dylan insists. Indiana Jones and J.F.K. and Elvis Presley and Jimmy Reed—nothing exists without the rest of it. None of us are absolved, and none of us are spared. Amanda Petrusich – New Yorker  Bob Dylan is a heavyweight champion. Five stars aren’t enough for his new album, Rough and Rowdy Ways. The album is a masterpiece, and a masterclass in lyric-writing in league with Dylan’s – and therefore anyone’s – best….Dylan is on fire lyrically throughout Rough and Rowdy Ways, offering up ten songs as dense in imagery and flawless in craftsmanship and quality as any of his long career….Perhaps the lesson in Rough and Rowdy Ways is that inestimable light can come from the dark places, once again making Dylan the voice we need to hear, just when we need it most.” — Jeff Slate, The Daily Beast

Follow Bob Dylan: Instagram | Twitter | Facebook | Youtube

360 Magazine, Cruel Santino

Cruel Santino New Single

Nigerian musician and creative auteur Cruel Santino has released a new single titled “End of The Wicked” (Monster Boy/Interscope Records). The song featuring French rapper Octavian is sombre in tone, fluttering across a shimmering production of piano keys and 808s. In the track, Cruel doubles down on his ‘Santinese’ — “those whole time kini hickidy wickidy wickidy end of the wicked” — a method first created to put melody on paper but evolved into a language that fans embraced. The track will appear on Cruel Santino’s upcoming sophomore album, in the meantime stream/save “End of The Wicked” via: Alongside the new single release, Cruel Santino also announced his new joint venture deal with Interscope Records called Monster Boy. Cruel is one of very few Nigerian artists to strike a JV with a major record label. The singer, formerly known as Santi, first burst on the scene with his own brand of alternative music rooted in pop-indie, dancehall, and hip hop. He quickly rose in ranks thanks to his stunning debut in Mandy & The Jungle (2019) which birthed hits like “Rapid Fire” and “Freaky.” The creative took to his “Monster Boy” channel recently to discuss the name change, parodying a late-night television show. Watch the video and get familiar with the many facets of Cruel Santino below:

Past Praise for Cruel Santino:

“The omnivorous Nigerian rapper-singer makes smoothly effortless genre hybrids that feel like everywhere and nowhere all at once.” – Pitchfork

“This mastermind’s music hits all the right spots” – NME

“Santi’s versatility will keep him reigning” — Clash Magazine

About Cruel Santino

Nigerian musician and auteur Cruel Santino (fka Santi) burst on the music scene with critically acclaimed debut album, Mandy & The Jungle (2019) dazzling fans with tracks like “Sparky”, “Freaky”, and “Rapid Fire” — molding a genre unto himself fed by his love for pop-indie, alternative, rap, dancehall and more. The definitive album was an ode to all the things that built the foundation of who Cruel Santino is — a genre-agnostic creative force to be reckoned with. Alongside the fresh sounds, Cruel Santino also directed the visuals tied to the project honing in on his craft with creative collective Monster Boy. Inspired by the occult and Nollywood films, his eye for mise-en-scene and visual narration caught the eye of collaborator Goldlink who tapped Cruel for the rapper’s “U Say” video featuring Tyler, The Creator, and Jay Prince. Not long after, the Dubai, UAE based artist signed with management company Love Renaissance. In 2020, Cruel Santino announced his very own label, Monster Boy — an Interscope Records joint venture. This Summer, Cruel Santino will release new single “End of The Wicked” which comes off his upcoming sophomore album. Not afraid to always evolve and create, we’re learning that this is Cruel Santino’s extravagant universe and we’re lucky to be co-existing in it.

PJ Harvey “Dry”

UMe/Island and Beggars today announce
a comprehensive reissue campaign which will see PJ Harvey’s entire back
catalog – plus her two albums in collaboration with John Parish –
released on vinyl over the next 12 months. For the first time, each of
PJ Harvey’s album demos will be available as a stand-alone album on
digital and vinyl.

This catalog project will celebrate every aspect of Harvey’s recording
career and afford a comprehensive and exciting look at the evolution of
one of the most singular and extraordinary artists of modern times.

The first release is DRY, Harvey’s seminal debut album back in print on
vinyl for the first time in 20 years with the Beggars Archive/Too Pure
Records reissue on July 24. Released to worldwide critical acclaim on
March 30, 1992, it was recorded at The Ice House in Yeovil and features
the singles “Dress” and “Sheela-Na-Gig.” DRY saw PJ Harvey burst onto the global stage to begin her unique path.

July 24 also sees the release of the 11 track DRY- Demos, previously released with DRY almost 30 years ago, and now available for the first time as a stand-alone vinyl/CD/digital release.

“Polly dredges these sounds from the pit of her dissected soul and drags them out of her mouth with clenched fists.” – NME (DRY review,1992)

“On her debut [DRY], Polly Jean Harvey matched Patti Smith’s incandescence with Bessie Smith’s lasciviousness, outplayed everyone on the British indie circuit, and became an instant star.” – PITCHFORK

“[DRY] ….an uncompromising work of exhilarating, cauterizing beauty.” –ENTERTAINMENT WEEKLY

phem × Alison Wonderland

PHEM X ALISON WONDERLAND DROP TIGER KING-INSPIRED NEW SINGLE “W.W.C.B.D.” 

LISTEN HERE

Following widespread acclaim from Atwood Magazine and RunTheTrap as well as 20 million-plus streams and counting, alternative pop sorceress phem and Australian superstar Alison Wonderland pose a question that has been on everybody’s mind as of late with their new single “W.W.C.B.D.”–i.e. “wut wud carole baskin do?” Get it HERE via nvr giv up/Caroline. Inspired by the cultural phenomenon and NETFLIX documentary series Tiger King: Murder, Mayhem and Madness, the track fuses echo-y trap beat-craft and electronic transmissions from Wonderland with phem’s ruddy acoustic guitar and hypnotic croon. It closes out on a possible answer to this popular quarantine query as phem strains out the final crescendo, “Feed you to the tigers, but I can’t because this virus got me paralyzed again.” Check out the visualizer HERE. About “W.W.C.B.D.”, phem commented, “During this quarantine, I became obsessed with Tiger King (just like everyone else). Every day, I was searching the hashtag on Twitter to see what other people thought and how they were reacting to Carole and the mysterious death of her husband. Feeling frustrated about being stuck inside and the idea that many people are cooped up with their significant others, (many who are at their breaking point and probably wish they could end the relationship), I picked up my guitar and began playing a simple baseline. The words came out naturally. The demo was short and concise, but I wanted some extra production and had been going back and forth with Alison Wonderland for a few months about making stuff together, so I sent it to her. She loved the idea. Within a day’s time, she sent it back and made it sound so good I almost started crying. Literally, we made this shit in two days. I didn’t want to be precious about it. It feels like no rules apply right now. It was something fun and relatable, and we both wanted it out ASAP.” Immediately, the track incited widespread critical applause. NME noted, “‘W.W.C.B.D.?’ walks a fine line between the two artists’ signature styles: starting off with pronounced riffs clouded in phem’s lo-fi demeanor, before exploding into dark, moody production from Alison Wonderland.” EDM.com praised it as “short and sweet,” and YOUREDM claimed, “For ‘W.W.C.B.D. phem delivers a haunting vocal performance as Wonderland drops a dark trap beat dripping with animal print. We can always expect music eclectic in nature from phem, but with this track’s acoustic textures and eerie tones, this is AW like we’ve never heard her before. Much like the Tiger King, we feel it.” Dancing Astronaut summed it up best as, “impressive.” phem continues to make waves. Last year’s “Sorry Mama” [feat. Machine Gun Kelly] racked up over 4.5 million global streams to date and received the endorsement of OnesToWatch who promised the track, “Will have you confessing your sins.” Meanwhile, her collaboration with Gabriel Black, “Dead Yet, surpassed 4 million cumulative streams thus far and was prominently featured in an episode of HBO’s hit show, Euphoria. Conjuring a bold brew of alternative, pop, and hip-hop, Los Angeles artist, producer, and multi-instrumentalist phem extracts masterful melodies from personal conflict, otherworldly darkness, and all kinds of important questions. Living and working out of a Crenshaw studio, she introduced herself with the independent Can’t Kill Me EP in 2018 followed by the VACUMHEAD EP a year later. As she captivated a growing fan base, she collaborated with everyone from G-Eazy to Lil Tracy and delivered series of buzzing singles “Sorry Mama” [feat. Machine Gun Kelly] and “Dead Yet” with Gabriel Black, churning out 20 million streams. Not to mention, she landed on the pages of PAPER, i-D Magazine, Billboard, and more.

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