Madi Diaz “makes even the most immovable feelings open up with just a little time and space” (Pitchfork). Today, she returns with the new single/lyric video, “Love Looks Different.”
“This song is combing out the last remnants of love that wasn’t working. I’m doing a final recount, laying out every piece, cutting off all the bitter and bad memories, and setting it off so I no longer carry every small detail with me,” Diaz says. “This time around, love feels less like a battle cry and more of a cry of total relief because it’s finally different. I’m still learning about everything that love is, but I definitely know what love is not.”
Madi Diaz Tour Dates:
Sat. Oct. 22 – Nashville, TN @ The Basement East *~
Tue. Oct. 25 – Washington, DC @ DC9 Nightclub *
Wed. Oct. 26 – Philadelphia, PA @ Johnny Brenda’s *
Thu. Oct. 27 – Brooklyn, NY @ Baby’s All Right *
Fri. Oct. 28 – Boston, MA @ Café 939 at Berklee * (Sold Out)
Sun. October 30 – Montreal, Quebec @ Petit Campus *
Tue. Nov. 1 – Toronto, ON @ The Great Hall * (Sold Out)
Thu. Nov. 3 – Cleveland, OH @ Beachland Tavern *
Fri. Nov. 4 – Chicago, IL @ Sleeping Village *
Sun. Nov. 6 – Minneapolis, MN @ Turf Club *
Mon. Nov. 7 – Davenport, Iowa @ Racoon Motel *
Wed. Nov. 9 – Denver, CO @ Globe Hall
Fri. Nov. 11 – Salt Lake City, UT @ Kilby Court ^
Sat. Nov. 12 – Boise, ID @ The Olympic ^
Mon. Nov. 14 – Seattle, WA @ Tractor Tavern ^
Tue. Nov. 15 – Portland, OR @ Mississippi Studios ^
Thu. Nov. 17 – San Francisco, CA @ The Chapel ^
Fri. Nov. 18 – Los Angeles, CA @ The Moroccan Lounge ^ (Sold Out)
Support from *John-Robert / ~Baerd / ^ Caroline Spence
Jess Williamson and Waxahatchee’s Katie Crutchfield recently announced an album titled I Walked With You A Ways for their new collaborative project, Plains. It’s a one time collaboration with the album out October 14th on ANTI.
Today they give us the second taste of the new album with a video “Abilene,” starring Adriene Mishler of the wildly popular Yoga With Adriene YouTube channel, directed by Corbett Jones & Nick Simonite.
Crutchfield spoke about the new track, saying “The song ‘Abilene’ really solidified the vision of the album for me. I’ll never forget how giddy I felt when Jess sent me the original demo. In a very stereotypical-of-a-songwriter way, Jess felt unsure if it fit or made sense & I reassured her immediately that this was probably my favorite song of the bunch. She achieved something really special in my view, which is writing a classic country waltz that feels extremely modern.”
Williamson continues “In the video for ‘Abilene,’ my dear friend Adriene Mishler plays the narrator of the song. We see her struggle in the final stages of a romantic relationship and then make the hard decision to choose herself and leave. I think we all have our own personal ‘Abilene.’ Maybe it’s a place where you used to live and things didn’t turn out as planned, like in the song. It could also be a relationship that ended in disappointment, or a dream that turned into a hard reality, or even an old version of yourself that’s better left in the past. ‘Abilene’ is a song about knowing your worth, having courage in the face of an uncertain future, and trusting your gut.”
Plains North American Tour
Fri Oct 21: Seattle WA @ The Neptune Theatre
Sat Oct 22: Portland OR @ Revolution Hall
Mon Oct 24: Sonoma CA @ Gundlach Bundschu Winery
Tue Oct 25: San Francisco CA @ The Regency Ballroom
Ezra Furman releases a new single/video, “Poor Girl A Long Way From Heaven,” off of her forthcoming album, All of Us Flames, out August 26th via ANTI- / Bella Union.
On “Poor Girl A Long Way From Heaven,” Furman recounts a childhood encounter with God, a gesture of spiritual yearning that flows into the album’s biblical facets. Her voice resonates over building instrumentation, bolstered by layered vocals. “The spiritual life ain’t all pious platitudes,” she elaborates. “This song is about how weird it gets, when you’re in love with the Source of Being and She’s not texting you back. Ever since it hit me that I was never going to be loved and accepted on the scale of my pop star heroes, me and my bandmates have started to work on a different vision of pop, one more our own, one that gestures at the stranger truths of the human mind. Here we are in thrall to verbally adventurous nineties music like Bjork and Beck and the Silver Jews and them kinda non-linear geniuses.”
As for the video, directed by Haoyan of America, Furman “basically told Haoyan a story I made up about a trans Joan of Arc narrowly avoiding her public execution, and then gave him free reign to do whatever he wanted with it, as long as Daphne Always (also seen in our recent ‘Forever in Sunset’ video) played Joan. I adore the cracked brilliance of what came out.”
Girlpool, the Los Angeles duo comprised of Avery Tucker (he/him) and Harmony Tividad (she/her), share a video for “Nothing Gives Me Pleasure,” the final single and album opener for their highly anticipated Yves Rothman-produced new album Forgiveness, out April 29th via ANTI-.
“Nothing Gives Me Pleasure is about trying to love yourself when it feels like no one else will,” says Tividad. “It was written during a time when I was working so hard to get someone specific to love and recognize me. On the path to doing that, I diluted myself so much that I lost sight of my own needs. This video plays with the lengths we go to to feel loved and how so many faces of intimacy may disguise what love actually looks like to us specifically. I have a history of getting lost in the labyrinth in the struggle for affection. In this video I wanted to interface with my own patterns in the attempt to better see and love myself.”
Girlpool, the Los Angeles duo comprised of Avery Tucker (he/him) and Harmony Tividad (she/her), announce their new album, Forgiveness, out April 29th via ANTI-. The announcement comes with an Amalia Irons-directed video for the album’s lead single “Lie Love Lullaby.”
“‘Lie Love Lullaby’ is a song about a time where I felt that my innocence affected my ability to choose a person who was good for me,” says Tucker. “In the past, it’s been painful to choose somebody that didn’t believe in me, and I think the most painful part was that I allowed myself to pick a person that didn’t recognize my entirety. I wrote this song wondering, did I recognize it myself? If I had the wherewithal to tolerate their minimizing perspective?”
Forgiveness, which finds the duo embracing weirdo-pop decadence without sacrificing the poetic curiosity that has always made their music so absorbing, is also their slickest and most ambitious album to date. It’s filled with idiosyncratic and provocative gestures that simultaneously support and complicate the emotionally intricate material. With its unique blend of introspective earworms and surreal party music, Forgiveness reaches beyond the loosely sketched parameters of “indie rock,” challenging any preconceived notions of what a Girlpool album can or should be.
To support their vision of a sound at the intersection of Hollywood futurism and post-grunge sincerity, Girlpool enlisted help from producer Yves Rothman (Yves Tumor, Miya Folick). While they had conversations with other potential collaborators, Rothman’s genuine enthusiasm for crafting music at that crossroads — freaky and fucked-up, but also heartfelt and grounded — helped seal the deal. Rothman’s input on Forgiveness marked the first time Harmony and Avery allowed someone all the way inside their intimate, borderline telepathic approach to song-making — a pure partnership that has remained constant, even as the music has evolved.
Nashville-based Madi Diaz marks a full restart of her artistic career with “Man In Me,” her poignant debut single/video for ANTI-. It’s a first taste of how Diaz has worked at perfecting the craft of delivering a full spectrum of emotions via songs stripped to their most confrontational and raw form. This song was produced by Diaz with additional production by Andrew Sarlo (Big Thief, Bon Iver). Across reverberating guitar strums and light piano, Diaz’s voice is evocative as she makes frank observations about a past relationship: “Do you imagine me differently // Cause when I met you swore that you saw me // When you think I might be someone else // Does it turn you on.” As the track continues, Diaz’s vocals swell exponentially, only to be drawn back to a fading note.
“‘Man In Me’ was the first song I sat down to record for myself in about six years, which is the reason I thought it was so important to release first. It’s a very intimately visceral moment, a sort of play-by-play inner monologue, taking my first steps through a really hard time.” The accompanying video, directed by Stephen Kinigopoulos, “emphasizes the intensity of a moment held and held and held. For me, this video is like holding a stare for so long that it hurts. It’s like knowing you should let go, but you keep holding on cause you can’t say ‘when,’ and playing with that tension lying right beneath the surface. You know something’s up, but you just can’t put your finger on it.”