Introducing Valley, the Canadian indie-pop sensation that has captured hearts worldwide with its infectious melodies and heartfelt lyrics. Now, they are back with their highly anticipated album Lost in Translation, a sonic journey that explores the complexities of love, self-discovery, and the universal quest for meaning. With their signature blend of shimmering synth-pop, lush harmonies, and introspective songwriting, Valley delivers an enchanting and relatable experience that transcends borders and speaks to the soul.
One of the songs in Lost in Translation — “Natrual” — comes with its own music video that delves into themes of healing and natural bonds between different souls.
The music video opens with an individual walking into some sort of a rustic, classically American bar, wearing what looks to be clean and sunflower-y but otherwise dull clothing. He doesn’t seem to belong, compared to the several groups of conversationalists and dart-throwers. Quick to change, he leaves from a changing area, donning a metallic top and unquestionably less stiff pants. And he comes back sporting top-tier energy.
It’s not so much the outfit as rocking dance moves, this man has had a real confidence boost and he’s not afraid to light up the atmosphere. Most noticeably, the lighting is sunset-ethereal-like, but the majority of the space is enveloped in shadows. Somehow, I believe that the lighting represents the divide between the beautiful light, the facade we put on for the world, versus the shadows, our own dark inner worlds.
There is a mirror, and the man is standing in front of it. He is alone when he wears his original attire, but when he wears his party outfit, others surround him, highlighting that his change comes in tandem with company. And of course, he is much happier. The cameras pan to him taking over the dance floor without a hint of his previous self. The transformation is remarkable as he moves with newfound confidence and uninhibited joy.
The pulsating beats of Valley’s Lost in Translation provide the perfect soundtrack to this moment, amplifying the euphoria and capturing the essence of the album’s theme – the power of music to transcend barriers and transform lives. As the crowd joins him, their collective energy ignites, and for that fleeting moment, they are all lost in the music, lost in the magic, and united by the universal language that Valley so effortlessly captures.
Ever since he was a kid, Salim Nourallah has had a deep appreciation for English rock ‘n roll music. As he grew up and cultivated a career as a musician into the 90’s, he found his life intertwined with two other multi-talented individuals: Chris Holt and Paul Averitt. The trio started bands together, played on each other’s albums, and got involved in many of the same collaborative projects. The two decades of shared respect and friendship along with Nourallah’s love of English rock have culminated in a new project that celebrates a reenvisioning of old music, called A Break in the Battle. The name comes from the Pretender’s “Back on the Chain Gang”, the words fitting to Nourallah, Holt, and Averitt’s belief in music as a respite from the toil of life. Like a giant love letter to their heroes, each song is stripped back to the essentials, which are then illuminated by the guys with a loving hand. The first round of tracks came out in 2017, with classics like The Replacements’ “Kiss Me on the Bus” and The Cure’s “Boys Don’t Cry.” After a two year hiatus following the death of Nourallah’s mother, the trio is set to release the second collection of songs later this year.
Kicking things off for round two, the boys have released Nick Heyward’s “Kite.” The original features a full sound, punchy beat, and a complex web of sounds including metallic guitars, warm horns and strings, and twinkling bells. The tone Heyward’s voice vaguely reminds one of Billy Corgan’s, but instead of the patented and glorious harshness that the Smashing Pumpkins’ lead singer is known for, Heyward’s voice is pleasant and earnest. A Break in the Battle’s version maintains that humble, earnest tone in the vocals, and has the same overall spirit as the original, but it achieves this using a different instrumental blueprint. The iconic waterfall-like guitar picking remains in the intro, but in the 2020 version it’s backed by prominent acoustic guitar strumming. The track is less punchy and more dreamy, complete with gentle harmonies and dazzling combinations of metallic guitar and reverberating piano.
One of the biggest pitfalls to avoid when making a cover is trying to sound like a carbon copy of the original. Nourallah, Holt, and Averitt’s version of “Kite” successfully sidesteps this stumbling block. It carefully preserves the essence and integrity of Heyward’s song, but approaches it from a different direction. With “Kite”, we see that the boys’ imagination is just as finely tuned as it was three years ago.
While the rest of the collection will be out later this year, in the meantime there are 16 opportunities on the first collection of A Break in the Battlefor you to experience your favourite English rock tunes like it’s the first time.
Incendiary, vengeful, and all-around kickass: The first full-length album from New Zealand powerhouse Miss June slams from start to finish. Brimming with fiercely punk riot grrrl anthems and self-deprecating moodiness, Bad Luck Party spans captivating rock methodsacrosseras; from the stadiums of the early 80s to 90s alt-rock radio hits alike.
What do you get when you cross the youthful rebellion of 00’s pop-rock with contemporary punk? The answer is opening track “Twitch”; a smoldering, mile-a-minute plunge into the inferno that is Bad Luck Party. The first single of Bad Luck Party dropped in May of 2018, it acts an effective launch into the zeitgeist of the album, with dripping, electric fuzz stacked behind racing drum fills. “Twitch” especially stands out on BadLuck Party because it could fall first, central, or middle on the album’s track listing, and its catharsis would be perfectly timed regardless.
With track two – titled “Best Girl” – Miss June welcomes us into the first of many sarcastic rejections of the drags of femininity. A tongue-in-cheek nod to the album’s title, the chorus chants again and again: “It’s a bad luck party and nobody wins but me”, as voiceovers from vocalist Annabel Liddell whisper gossipy taunts over the anxiety of a tight snare.
Bad Luck Party never takes a breather, yet it does breathe a satisfying range of moods and dynamic differentiation. Tracks “Anomaly”, “Orchid”, and “Double Negative” are moody, narrative-focused, and feature toned-down vocals relative to their accompaniments on the album. Heart-swelling anthem “Anomaly” takes you right to a high school football stadium, where a protagonist fawns over a crush, with just a tinge of jealousy. Following suit in the spirit of reflective indie influences is “Orchid”; a pensive look into a dirty mirror that shatters if you stay too long. The lyrics of “Orchid” offer some of the clearest feminist commentary on Bad Luck Party, deftly melded with wracking heartache, as Liddell croons: “Ma says it’s easier for men to move on / There’s plenty of fish in the sea for a shark”.
The middle track on the album, “Double Negative”, is a simmering, melancholy beacon that carries with it an emotion not found many other places on Bad Luck Party; the urge to mourn. A cavernous cello carves out the space around Liddell’s vocals, creating a landing space for her regrets as she tosses them over the edge: “There was no time to talk”. An eruption follows, with any remaining boundaries combusting into unresolved questions.
There are more songs on Bad Luck Party album guaranteed to triple your heart rate than not. An anthem of repudiation, “Please Waste My Time” is arguably the wildest and most fun on Miss June’s spectrum of alt-punk. Just before her breakneck squeals send the chorus into chaos, Liddell’s contrasting shouts of “You make me feel old” break the tension, expertly shifting from frenzy back into musicality. On “Two Hits” and “Aquarium”, Liddell lobs rapid, ear-splitting screeches in rapid pace, demanding the forefront of attention, even over the thundering, metal-style guitars. Second-to-last song “Scorpio” is no less thrashing, but is marked by the softer, melodic singing of a ballad as opposed to the ravenous contempt wreaked on earlier tracks.
“Enemies”, a single released earlier in 2019, opens gradually and dramatically, drudging through a nightmarish yet fascinating landscape of stinging feedback and reverbing leads, before trenching into Liddell’s warning lyricism. This track is an ode to massive stadium rock acts of the past like Metallica, as well as extant subgenres like metalcore– all with Miss June’s defining riot grrrl explosivity. Matching the doom of “Enemies” is final track “Polio”, a finisher welded together with every trick in Liddell’s arsenal: Cautioning whispers give way to spoken directness, gradually ascending into screeching ferocity; nearly eclipsing the deafening crash of the surrounding scape.
Miss June is comprised of vocalist and guitarist Annabel Liddell, guitarist Jun Cheul Park, bassist Chris Marshall, and Tom Leggett. Next month, the group will begin their world-wide tour in celebration of the album’s release. The Bad Luck Party Tourwill kick off in Wellington, New Zealand and October14 sees the band play Brooklyn’s Rough Trade which marks the start of the North American run that includes shows in Toronto, Chicago and LosAngeles. All dates are listed below. Tickets and more tour info can be found here.
If you’re a fan of The Flaming Lips, then listen up! The classic rock band is giving a gift beyond your wildest dreams. As one of the most well known and influential rock band of their time, The Flaming Lips are pleased to announce the release of their first ever “hits” collection. The best news? The Greatest Hits Vol. 1 is officially out today via Warner Bros. Records. The collection will be available as a vinyl edition and as a deluxe edition (3-CD and digital).
The Flaming Lips offer so much in this collection, starting with debut hits such as “Transmissions From The Satellite Heart” (1993), “Clouds Taste Metallic” (1995), “The Soft Bulletin” (1999) and more recent tracks like “Yoshimi Battles”, “The Pink Robots” (2002), “At War With The Mystics” (2006), “Embryonic” (2009), and their current album “Oczy Mlody” (2017). If that weren’t enough, The Flaming Lips also include added specials such as studio outtakes, unreleased tracks, and international single B-sides on the deluxe edition. Other features include “Zero To A Million,” the unreleased demo track, “Spider-Man Vs Muhammed Ali” and “Silent Lord.” The collection is a great complication of the unique and creative sound that The Flaming Lips has spent so many years building. Here are the tracks for the two editions:
Tracklisting for Greatest Hits Vol. 1 (Vinyl edition)
1. Do You Realize??
2. Yoshimi Battles The Pink Robots Pt. 1
3. Race For The Prize
4. Waitin’ For A Superman
5. When You Smile
6. She Don’t Use Jelly
1. Bad Days (Aurally Excited Version)
2. The W.A.N.D.
3. Silver Trembling Hands
4. The Castle
5. The Yeah Yeah Yeah Song
1. Talkin’ ‘Bout The Smiling Deathporn Immortality Blues (Everyone Wants
To Live Forever)
2. Hit Me Like You Did The First Time
4. Felt Good To Burn
5. Turn It On
6. She Don’t Use Jelly
7. Chewin The Apple Of Your Eye
8. Slow Nerve Action
9. Psychiatric Explorations of The Fetus With Needles
11. Lightning Strikes The Postman
12. When You Smile
13. Bad Days (Aurally Excited Version)
14. Riding To Work In The Year 2025
15. Race For The Prize (Sacrifice Of The New Scientists)
16. Waitin’ For A Superman (Is It Getting Heavy?)
17. The Spark That Bled
18. What Is the Light?
1. Yoshimi Battles The Pink Robots Pt. 1
2. In The Morning Of The Magicians
3. All We Have Is Now
4. Do You Realize??
5. The W.A.N.D.
6. Pompeii Am Gotterdammerung
7. Vein Of Stars
8. The Yeah Yeah Yeah Song
9. Convinced Of The Hex
10. See The Leaves
11. Silver Trembling Hands
12. Is David Bowie Dying?
13. Try To Explain
14. Always There In Our Hearts
16. There Should Be Unicorns
17. The Castle
1. Zero to A Million (Demo)
2. Jets (Cupid’s Kiss Vs The Psyche Of Death) (2-Track Demo)
3. Thirty-Five Thousand Feet Of Despair
4. The Captain
5. 1000 Ft. Hands
6. Noodling Theme (Epic Sunset Mix #5)
7. Up Above The Daily Hum
8. The Yeah Yeah Yeah Song (In Anatropous Reflex)
9. We Can’t Predict The Future
10. Your Face Can Tell The Future
11. You Gotta Hold On
12. What Does It Mean?
13. Spider-man Vs Muhammed Ali
14. I Was Zapped By The Lucky Super Rainbow
15. Enthusiasm For Life Defeats Existential Fear Part 2
16. If I Only Had A Brain
17. Silent Night / Lord, Can You Hear Me
You can order the collection here. Keep up with them here.
I chose to make this playlist because these songs have inspired me through my musical journey and are a huge inspiration on the music I’m making today. I know they’re all over the place genre-wise but I feel they all come together to make the sound I’m trying to make!
In this moment “Whore”
Rob Zombie “Living Dead Girl”
Marilyn Manson “Dope Show”
Red Hot Chili Peppers “City of Angels”
Black Sabbath “Paranoid”
Madonna “Justify my Love”
Korn “Narcissistic Cannibal”
The Doors “Ghost Ship”
Stevie Nicks “White Wing Dove”
Jay Z “99 Problems”
Metallica “Master of Puppets”
Slayer “Raining Blood”
So remember how the internet used to be the most righteous place? Well, sometimes inboxes get crowded – or worse, your inbox flags your friends as spam. Our friends Gus McArthur created such a badass playlist for us many moons ago, and we’re just now able to see it. So if you could forgive us for our massive mistake for just a moment, you’ll begin to see a pretty amazing theme throughout this “Christmas” playlist. If you’re in, we’re in.
Says the band about the playlist:
When you need energy and excitement from all the sappy Christmas music and just want to head bang the day away. On December 24th, 1988 Ozzy Osbourne and Zakk Wylde hosted a special Christmas edition of the Headbangers’ Ball featuring some of the top artists in rock and heavy Metal. This is our 2017 homage to Ozzy and Zakk, this time its just Honan and Gus, but we tried to be as diverse in selection as they were or MTV made them be by picking the songs. We highly recommend watching the episode, its kind of hilarious.