Ezra Furman announces her new record, All of Us Flames, out August 26th via ANTI-, and unveils the cathartic lead single, “Forever In Sunset.” Inside the world of All of Us Flames, the end of the patriarchal capitalist empire seems both imminent and inevitable, a turn down a path we can’t see yet but can’t avoid, either. Produced by John Congleton, All of Us Flames unleashes Furman’s songwriting in an open, vivid sound whose boldness heightens the music’s urgency.
“Forever In Sunset” peers past the scorch of the apocalypse into a vision of collective survival, tracing the ways outcast people can make each other real through mutual belief. The synth-streaked rallying call is presented alongside a gorgeous and tender video directed by Noel Paul.
“The biggest influence on the lyrics of this song is a conversation I had with a friend of mine. When Covid was first hitting, she was talking to me a lot about how ready she felt. She was like, ‘people who have been comfortable in life are freaking out right now. But queer people like me have been in crisis before. I grew up poor and my family kicked me out when I was a teenager. My world has already ended plenty of times before, and we queers know what to do: we take care of each other, we help each other out, we have a network of support for the crises we know will hit us from time to time.’
And then she lost her job and ended up moving in with me and my family for like three months. And she was right, we were okay and we were taking care of each other.
That influenced a lot of what the whole record is about. But ‘Forever in Sunset’ is specifically a woman who’s been through some shit speaking to a new lover who is becoming attached to them, trying to warn the lover about how she is trouble, about how she has been through crises and they will come again. And that’s just how she lives, never settled, never safe, but also never defeated/finished – “forever in sunset.”
Sometimes it feels like crisis is hitting more and more of the general population. They think the world is ending. But people who have been through a personal apocalypse or two have something to teach them. The world doesn’t end, shit just happens and if we don’t die we have to take care of each other.”
– Ezra Furman on “Forever In Sunset”
Ezra Furman Tour Dates
Thu. May 19 – Los Angeles, CA @ Teragram Ballroom *
Sat. May 21 – San Francisco, CA @ August Hall *
Mon. May 23 – Seattle, WA @ The Crocodile *
Tue. May 24 – Vancouver, BC @ Hollywood Theatre *
Wed. May 25 – Portland, OR @ Wonder Ballroom *
Thu. May 26 – Boise, ID @ Visual Arts Collective *
Girlpool, the Los Angeles duo comprised of Avery Tucker (he/him) and Harmony Tividad (she/her), share a self-directed video for “Dragging My Life Into a Dream,” the new single from their upcoming album Forgiveness, out April 29th via ANTI-.
“I wrote ‘Dragging My Life Into a Dream’ after going out to a party. I had spent the last year confronting being on my own in a way I had been avoiding for a long time. Although I knew that I was growing and still needed to heal from past relationships, I missed feeling connected to somebody and inspired,” says Tucker. “This song is about romanticizing a past time and also longing for my heart to feel open and innocent again.”
Kristine Leschper (fka Mothers) shares “All That You Never Wanted,” the final single from her upcoming album, The Opening, Or Closing Of A Door, out March 4th via ANTI- Records. The song arrives with an animated video by John Andrews.
“This one was written by Matthew Anderegg, something he showed me years ago. I knew it was special the first time I heard it. When I was working on my album, I remembered the song and asked if I could attempt my own version, which actually includes some of the synthesizers from his original recording,” says Leschper. “I hesitate to ascribe meaning to a song I didn’t write, but I’ve always interpreted ‘All That You Never Wanted’ as a rumination on materialism. There’s something special about the way the form reinforces the content, with the repetition of the main phrase itself reading almost as an advertisement. John Andrews’ hand-painted animation effortlessly visualizes this, my favorite frame a billboard among a grove of trees that simply reads ‘MORE’.”
Kristine Leschper shares a video for her new single “Figure And I.” Having retired the moniker Mothers after eight years of performing and releasing music under it, “Figure And I” marks Leschper’s first release under her given name, and first for ANTI- Records.
Though both Mothers and her solo work are guided by Leschper’s idiosyncratic approach to songwriting, they couldn’t sound more different. While Mothers drew inspiration from the stark, skeletal sounds of post-punk and contemporary folk, Leschper’s new work is practically baroque, integrating an array of synthesizers, strings, woodwinds, and over a dozen percussive instruments.
“For the first time, I used my hands to clap out a rhythm that spoke to me. I don’t have much experience with percussion, so I was thrilled by the ease and accessibility of using hands as an instrument,” says Leschper. “It’s such a long-standing and fundamental way of making sound in folk traditions around the world, and to use it makes me feel rooted in a deeper sense of time. As a poet, too, I hold an enthusiasm for the symbolism of hands, as a symbol of work, of community or offering, or holding and being held.”
The video’s director, Lynne Sachs, adds “Kristine Leschper wrote to me with a very intriguing proposition: create a short film in response to her song ‘Figure and I.’ I knew that this deeply rhythmic two-minute song needed some kind of somatic imagery. I needed to move with my body and my camera as I was shooting it. A few days later, I went to ‘The New Woman Behind the Camera’ exhibition at the Metropolitan Museum of Art in New York City. In this show, I saw two photos by two women photographers from the 1920s whose work I had never seen before. These images guided me to a way of interpreting the physicality and the intimacy of Kristine’s song. Soon afterward, I invited my friend Kim Wilberforce to be in my film and to interpret the song herself, through her vibrant wardrobe and her precise, ecstatic clapping gestures.” @kristineleschper
Today, Jackson+Sellers debut new song “Waste Your Time,” a indie pop rock single from their forthcoming debut album, Breaking Point, which will be released on October 22 via ANTI- records.
The new track’s grungy distorted guitars and brooding drums soundtrack their wistful vocals, which intertwine to reflect on a relationship gone wrong and the precious time that was wasted.
Jade Jackson said, “Waste Your Time was my heart’s way of ringing out the last few drops of a toxic relationship. When I started strumming the chords and scribbling down the lyrics I was in a place of weakness. After I put the pencil down and finished the song I felt strong again. It helped me move on.”
Aubrie Sellers added, “When we were putting songs together, Jade sent over a folder of a bunch of different ones that she had written and this one really stood out to us. It reminded me of what it might sound like if someone made a pure 90s rock anthem today. I think everybody has wondered if they wasted their time in the wrong relationship, and Jade encompassed the sentiment simply and completely.”
Formed during the pandemic after Jackson approached Sellers via a social media DM, inquiring if Sellers would like to sing backing vocals on one of her new songs. The creative partnership quickly blossomed into a full duo project with Sellers and Jackson citing instant chemistry, cosmic forces, and their desire to write a record that reflected their expansive musical interests amongst the reasons that quickly cemented their new music union.
Recorded at The Cabin studio in East Nashville in late 2020, Breaking Point was co-produced by Sellers and Ethan Ballinger, with Jackson and Sellers contributing three tracks each and co-writing “Wound Up” with Ballinger. In addition to their own material, they selected deep-cut covers including their first single, a reimagination of Julie Miller’s blistering “The Devil Is an Angel.” They also recorded genre bending interpretations of Suzi Quatro’s defiant “The Wild One,” and Shannon Wright’s raucous “Has Been.”
Jackson reflected, “This is an album that pays homage to unique, independent women who created their own path, wrote their own songs, had their own sounds.”
Half Waif, the project of Hudson Valley, NY-based artist Nandi Rose, has shared “Horse Racing,” a propulsive new single from her anticipated forthcoming album Mythopoetics, available for pre-order now and due July 9th via ANTI- Records.
Of the song, written at the beginning of the Covid-19 pandemic, Rose says: “I started writing ‘Horse Racing’ in an Airbnb in Brooklyn that week in March 2020 when everything got really real. Alone in an unfamiliar apartment, as an unseen force took over our lives, I was struck by how much of a wake-up call it all was. How we were being shaken by our shoulders and told to face something really ugly and monstrous about our ways of being. It felt like we were race horses who had only just realized we were on a track, going around again and again. There’s no end in a circle. And maybe now that we recognized this, we could break out of it, bust right out of the ring – which is what the end section feels like sonically to me. A shot at freedom.”
Mythopoetics is Half Waif’s most self-assured album to date, with the New York Times calling it “larger than life” and Stereogum praising it as “massive-sounding.” “This is the record I’ve been trying to make for 10 years,” Rose says. “My voice is changing, and my confidence has reached a point where I feel that I can sing however I want; I’ve finally come to a place where I don’t have to conform to what I think other people want it to sound like.”
The Philadelphia-based Moor Mother – AKA Camae Ayewa – has signed to ANTI- Records. Moor Mother is a holographic figment of an Afrotopian dream, all at once goddess and warrior, mystic and cyborg, griot and future time traveler, etching noisy pieces of reverie into our consciousness for decades now.
Today she has released the piercing new track “Zami”; produced by her frequent collaborator Madam Data, listen to the track and watch its new video HERE.
“ ‘No more master’s clock / we travel spaceways’; “Zami” speaks to a number of different themes,” Ayewa explains. “Using the lenses of Black Quantum Futurism, the lyrics speak to Time and Space, injustice, racism, erasure of African identity. “Zami” speaks of agency and something beyond freedom. It speaks of another future. It speaks about connections free from the stains of colonialism. It speaks about the expansive temporalities of Afro Diasporan people around the world.”
Moor Mother has released Fetish Bones, The Motionless Present, Crime Waves, and Clepsydra.