Posts tagged with "The Independent"

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

Ferrari: Race to Immortality

“It’s definitely a film worth watching.”
-Forbes

“Grand Prix racing in the 1950s is shown as being an utterly lethal pastime
in this fascinating documentary.”
-The Independent

“A visual treat for fans of fast cars.”
-Radio Times

The 1950s. Dawn of the iconic Scuderia Ferrari in the Formula One World Championship and deadliest decade in motor racing history. As cars pushed the limits of human ingenuity, drivers lived on a knife edge between life and death.

At the centre of it all was Enzo Ferrari, a towering figure in motor racing and patriarch of Ferrari who dared to dream about speed in ways nobody else could. Amidst the stiff competition within his team, two of its stars, Peter Collins and Mike Hawthorn, decided that their friendship was as important as winning the next race.

Ferrari: Race to Immortality tells the story of the loves and losses, triumphs and tragedy of Ferrari’s most decorated drivers in an era where it was la dolce vita during the week and a coin toss of whether they lived or died on the weekend.

Get the trailer from YouTube here and download from here.

Ferrari: Race to Immortality

“It’s definitely a film worth watching.”
-Forbes

“Grand Prix racing in the 1950s is shown as being an utterly lethal pastime
in this fascinating documentary.”
-The Independent

“A visual treat for fans of fast cars.”
-Radio Times

The 1950s. Dawn of the iconic Scuderia Ferrari in the Formula One World Championship and deadliest decade in motor racing history. As cars pushed the limits of human ingenuity, drivers lived on a knife edge between life and death.
At the centre of it all was Enzo Ferrari, a towering figure in motor racing and patriarch of Ferrari who dared to dream about speed in ways nobody else could. Amidst the stiff competition within his team, two of its stars, Peter Collins and Mike Hawthorn, decided that their friendship was as important as winning the next race.

Ferrari: Race to Immortality tells the story of the loves and losses, triumphs and tragedy of Ferrari’s most decorated drivers in an era where it was la dolce vita during the week and a coin toss of whether they lived or died on the weekend.

Get the trailer from YouTube here and download here.

Ferrari: Race to Immortality

“It’s definitely a film worth watching.”
-Forbes

“Grand Prix racing in the 1950s is shown as being an utterly lethal pastime
in this fascinating documentary.”
-The Independent

“A visual treat for fans of fast cars.”
-Radio Times

The 1950s. Dawn of the iconic Scuderia Ferrari in the Formula One World Championship and deadliest decade in motor racing history. As cars pushed the limits of human ingenuity, drivers lived on a knife edge between life and death.

At the centre of it all was Enzo Ferrari, a towering figure in motor racing and patriarch of Ferrari who dared to dream about speed in ways nobody else could. Amidst the stiff competition within his team, two of its stars, Peter Collins and Mike Hawthorn, decided that their friendship was as important as winning the next race.

Ferrari: Race to Immortality tells the story of the loves and losses, triumphs and tragedy of Ferrari’s most decorated drivers in an era where it was la dolce vita during the week and a coin toss of whether they lived or died on the weekend.

Get the trailer from YouTube here and download from here.

“Murmurations”

Ben Howard’s new song, “Murmurations,” as well as his music video for the lead single, “Nica Libres At Dusk,” is out now—listen to the song HERE and watch the video HERE. The new music appears on Howard’s highly anticipated new album, Noonday Dream, out June 1 on Republic Records. Howard filmed and directed the “Nica Libres At Dusk” video with Australian cinematographer Allan Wilson in the Atlas Mountains.

The new music has begun to receive widespread critical praise—The Independent proclaims, “‘A Boat To An Island On The Wall’ is a sprawling, mesmerizing track that shifts restlessly, rocking back and forth like that small boat on the waves, with the familiar sound of Howard’s low, gruff vocals,” while Paste adds, “This seven-minute single [‘A Boat To An Island On The Wall’] features Howard harmonizing with himself, as ambient chords slowly ease the quiet song into a grungy guitar riff.” NYLON furthers, “Press play and let this cinematic gem wash over you.” Additionally, you can watch Howard’s performances of “Towing The Line” and “Nica Libres At Dusk” on “Later… with Jools Holland” HERE and HERE.

Howard will return stateside this fall confirming a run of headlining North American dates, which include stops at legendary venues such as Berkeley’s Greek Theatre, Denver’s Red Rocks AmphitheatreLos Angeles’ Shrine AuditoriumNew York’s Hammerstein BallroomMontreal’s Bell Centre as well as DC’s new venue Anthem. Fans can purchase tickets at http://benhowardmusic.co.uk/live. See below for complete tour details.

Noonday Dream was written and produced by Howard, with production contributions from regular collaborator and band-mate Mickey Smith. The album was recorded over the course of two years in various studios throughout Europe, including the legendary Sawmills Studio as well as locations in southwest France. The new recording continues to highlight Howard’s sonic evolution with unpredictable and textured arrangements and rich, emotive songwriting.

Howard’s debut album Every Kingdom was released in October 2011. The album sold more than one million copies globally, receiving a Mercury Music Prize nomination, and winning him two Brit Awards in 2012 for “British Breakthrough” and “British Solo Male Artist.” The follow up, I Forget Where We Were, which was released in 2014 was met with similar critical and commercial acclaim—the album earned an Ivor Novello Award nomination, the U.K.’s most prestigious songwriting accolade, and charted #1 in the U.K. Howard’s music has amassed well over half a billion streams to date.