Florence and the Machine, Ryan Adams perform on The Voice: Watch

NBC’s The Voice is more of an incubator than a concert hall, but tonight’s season 14 finale pulled out all the stops. Guest performers included a host of exciting names, from Halsey and Big Sean to Florence and the Machine and Ryan Adams.

Just as they did on Fallon last week, Florence Welch and her troupe performed “Hunger”, a new single from the band’s forthcoming High as Hope, which is slated for release on June 29th via Republic Records.

Adams, meanwhile, joined finalist Britton Buchanan (of Team Alicia Keys) for a rendition of “To Be Without You” from last year’s fantastic Prisoner. Adams, who covered Exile On Main St. at a Rolling Stones tribute concert earlier this month, has been teasing a new album on social media.

Other guests included Jennifer Hudson, Dua Lipa, Jason Aldean, James Bay, and Julia Michaels.

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Artist of the Month Snail Mail on Teenage Success, Being Pigeonholed, and Self-Awareness

Lindsey Jordan is 18 years old, female, and openly out, coming to prominence among a wave of underrepresented voices stepping forward into the spotlight. And none of that really matters.

At least not to Jordan, the talented young artist who operates under the moniker Snail Mail. After all, the entire point of having a conversation about equal representation is that eventually it no longer becomes an issue. While we’re still a ways away from that reality, Jordan comes from a generation that’s grown up with inclusivity being a mainstream ideal, not an outsider one. For her, Snail Mail is not about the fight — it’s about the music.

As it should be. Jordan writes with a slowcore-indebted indie vulnerability that captures all the awkward dejection and pro tem tragedies of adolescence. Yet, even as we witness her literal maturity from her breakout 2016 EP, Habit, to her forthcoming Matador Records debut full-length, Lush, her fearless insights belie her relative worldly inexperience. She delivers lyrics on crushes and crashes in a voice unashamed of the ragged innocence in its cracks and yowls, all while crafting guitar melodies that would impress even the most accomplished veterans, like her former teacher Mary Timony of Helium.

The astounding thing is realizing she’s just getting started. Talking to Jordan is, yes, like talking to a teenager, prone to sheepish laughter and bursts of excitement. Even so, she seems far more aware than I recall being at that age, both of the world she’s in and the person she is. Where some may internalize the success Snail Mail has seen as vindication for aggrandized self-pride, Jordan sees it as a challenge. Each achievement simply sets a new standard for her art, one which she’ll keenly, happily pursue — anything else would be restlessness.

This is the battle Jordan chooses to fight. Drafting her into any other culture war would minimize the potential of a discerning and gifted musician at the forefront of modern indie rock’s next generation. So listen up.

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On playing her first gig at Baltimore’s Unregistered Nurse Fest

Snail Mail Live Crowd Photo by Natalie SomekhSnail Mail, photo by Natalie Somekh

I’d been going to shows for a long time with no real intention of ever starting a band. But it felt pretty natural. Nobody was really nervous. It was really fun. It felt just like a fun night in Baltimore. I remember being like, “This feels like I’m around all the same people I’m usually around at shows, but now it’s just my band is playing early in the day.” I think one of us actually had a ticket because we were late added to the lineup. I was planning on going anyway because the lineup was great.

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On talking to labels while still in high school

Snail Mail Mirror

I really had to do a lot of logistics coordinating to make sure I was meeting all the requirements at school. I was stepping outside to take calls and things. I was really embarrassed about it. I didn’t want the attention from people at school, so that wasn’t something that made me cocky. It was more about, “This is something that’s happening, and it’s something that I need to make time for and logistically make it work — and also not wash up in school.” I was trying to keep my head down. I didn’t want to brag about it to friends or at parties. So I was just in my own head and being stressed and hanging out at my house a lot at my computer trying to work. That was the least cocky I’ve ever been.

At that point, just knowing I had the resources to make exactly the record that I heard in my head — I could literally make anything with the studio that I wanted and the producer that I wanted and the time that I wanted. The pressure that was there was pressure that I put on myself to make something that was to me listenable and perfect and something I could attach my name to. That wasn’t there when I wrote the first batch of songs. I wasn’t too worried about proving it to other people; I’m just very hard on myself when it comes to songwriting and my work stuff. Then and now, I feel like I’m always just trying to make the best music for myself. That can be really hard, especially because now there’s a progression in place. Now, I feel like I have to work even harder to make music to impress myself.

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On staying level as a teenager entering the music industry

Taking in being in the music industry, to me, it’s been a big maturing process. There’s a lot to learn still, but I’ve learned a lot. I think it’s all about keeping in mind what aspects of it actually matter to me and what are just hoops everyone has to jump through. When things feel hard or bleak, it’s usually just a matter of looking at what do I have and what am I working for? Why am I working for it? What is actually happening here? There’s a lot of tedious tasks and a lot of things that don’t matter to me that I have to do. Songwriting is the important thing, and doing that is a really great way to get yourself away from it. Making yourself vulnerable and doing that thing that actually brought me here is humbling and difficult. I like to remind myself that it’s still something I’m earning at all times. I’m never not trying to earn it. I think it’s all just about not letting yourself be comfortable.

Everyone handles things differently, but I think it’s a zone you have to get yourself in. If I imagine myself 16 or 17, how I was before I was working on this, I was 150% a different person. My personality is very perfectionist, obsessive, work all the time, no breaks, no chill. I don’t like to have downtime. I think my personality is compatible with what I’m doing, very much so. I’ve always needed something really intense. Even so, a lot of maturing had to happen. It was a really difficult thing to learn. I think people rise to the occasion. Nobody’s ready for it. Even if I was 25, I’d have to rise to some kind of occasion.

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On being pigeonholed in the wave of young, female indie guitar artists

Snail Mail Finger Gun Blue

It’s a transitional time [for me], too; a lot is changing otherwise in my life. It’s a crazy time in a lot of ways. The wave — I have a lot of opinions on that. It has to be a manual, unfortunately. It’s so not about the music in so many different settings. I’m just constantly making a lot of attempts to push it back to music. One thing I’ll say is that the wave of bringing people who have underrepresented voices to the top and giving them the mic is something that I’m very much in support of. But I don’t feel like I have a unique contribution, even as a gay young woman. As much as I support it, it has nothing to do with what I’m here for.

I think people assume that if you’re not constantly talking about it, you have some kind of shame about it. I’m perfectly content with myself. No shame. Happy with myself. I just think it has nothing to do with my work. So, I’ll be constantly diverting. I’ll be asked something and just be like, “So anyway, when I was writing…” It’s a manual thing. It’s great that we’re doing this; just for me, it feels like it takes away from the work that I’ve put so much of myself into. And the work is what I think people should be paying attention to. Not the dumb shit I say in interviews. I have lots of dumb shit to say, but I really mean for people to listen to my music and not the dumb shit I say.

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On making awkward teenage emotions lyrically resonant

It’s really self-aware music and lyricism. I like to think it is. Maybe in a couple of years, I’ll be like, “Wow, I was so not self-aware.” (laughs) “Pristine” in particular is very sarcastic and melodramatic in nature. It’s almost like punching Habit in the face and going, “You idiot.” Habit feels bad for itself, and Lush is aware of that. “Pristine” was the first one I wrote for it; it almost could have been on Habit. I jumped immediately from Habit to being too old for Habit.

I have a weird amount of pride in the things I do or say. I don’t feel embarrassed about the things I’ve done in the past or regret. I think it’s important that if people are paying attention to the things you’re doing and saying and putting out that you can just learn from yourself and take things in stride. Move onwards and forwards, because things change. I like having public records of that. I like being able to look back at Habit and demos and just being like, “Well, I’ve changed. It’s true.” It’s like taking your diary and being like, “Here you go, publisher.” I like that. I think it’s kind of cool.

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On Fiona Apple’s influence

I feel like Fiona Apple is the most confident woman and also self-deprecating. She was probably the most important, transformative musician for me growing up, especially as a writer. She’s so blunt and so eloquent in her lyrical style, and then she also gets up on stage and tears herself to pieces. She gives herself away in the music and onstage. She’s such a dramatic, honest performer. She’s still so cool. I think I saw here when I was 14 or 15 with my mom. Even now, it still holds the same level of importance for me. It was a good time in my life to have that. I really look up to her work.

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On sequencing Lush

Snail Mail Lush Album Art Cover Art Red

The B-side is my sweet baby. All the songs on there, it’s just a nice collection of my favorite songs on the record. I was the biggest control freak in the process; my hands were on literally everything. There wasn’t a moment I wasn’t sitting on the chair next to Jake [Aron, producer] at his computer being like, “Wait.” Jake and I and Johnny [Schenke] our engineer worked together on the sequencing.

The slow burners are sort of towards the end because I think it’s dramatic. I feel like all the songs have storylines that I hope the listener can get enveloped in, and by the time you’re in the middle towards the end, I’d hope that you’re fully immersed in the experience, crying and eating ice cream. I don’t think it’s fair to put those early on. I think they deserve their big reflection moment in the middle. You’re halfway through that pint of ice cream and you’re feeling the record. I also think it’s important that things end strong. This is one of the biggest things I hate — when a record starts with all of the singles and then it just tapers off and it gets weak. People put their least favorites towards the end and some incredible banger at the very end. It’s careless. There’s not a single song on the record that I wouldn’t go up to bat for. The sequencing is deliberate but also I think, for me, it could be in three or four different sequences and I’d still back it up. As long as it ended with people thinking about crying into a tub of ice cream.

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On playing bass for the opening band on her upcoming headlining tour

Snail Mail Guitar Red Light Photo by Natalie Somekh

Snail Mail, photo by Natalie Somekh

I bass in my friend’s band Longbeard sometimes, and it’s one of my favorite things ever to just hang back on bass. It’s such a different skill, I don’t think people realize that. Hanging back with the drummer is so different from being up front playing guitar. I just like sharpening that skill. And I love just jamming and chilling. That sounds really stupid, but I just like jamming and chilling. [laughs]

The band is really cool, Bonnie Dune. They needed a bassist on this tour, so I’m really excited to whip the bass out. It’s going to be fun, just less time for dinner. I don’t need [time for relaxing]. I don’t actually have time in the car to learn the songs, so I like the idea of a challenge. I sort of feel like my brain gets a little numb when I’m not actively challenging myself in some way. Sometimes you get so busy with stuff that doesn’t actually challenge you, so you’re busy but you feel like your brain’s melting. So, that’s another reason I really wanna play bass on this tour.

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On why she’s playing hockey in that “Heat Wave” video

Because it’s “Heat Wave”; it’s hot. That was actually just because it was funny. It’s ice and heat. And it was long, so we did a long song with the long, intense video. “Pristine”, we were in a bit of a jam and in a rush, so we did a lyric video. Same with “Full Control”, both were really fast fixes for music videos. But for “Heat Wave”, I was like, “Well, hold on. Let’s make this a big thing.” [I miss hockey] all the time. I’ll wake up in the middle of the night after having some dream like in overtime I will miss the final shot. My stress dreams have reverted back to hockey, which is kind of funny. It’s just Mighty Ducks, but starring me every night.

I played hockey for many years, and there were teams that would have a girl or two on it. But there were teams that didn’t. I definitely went through some shit. I didn’t really have interest in just being one of the guys. I just wanted to sharpen my blade and perfect my sport. Just like everything else in my life, I was really obsessive about being strong and good. I felt more like they were in my way. I felt like I was always expected to force my way to the front and prove myself all the time when other people didn’t have to. There’s a genuine constant lack of respect.

I think [music’s] completely different. I choose who I surround myself with at all times; I do everything my way. With music, I’m really my own boss. I don’t feel like I’m having to pull myself up or having to work twice as hard to prove myself. I just work hard. Hockey, I was just always having to get past something. I feel like I have a lot of say [in my music career], and it’s just my path that I’ve carved. If there’s a path, it’s mine. It’s my path. It’s not someone else’s that I’m trying to carve around. Hockey, I was always working under someone else. If the coach was a jerk, then the coach was a jerk and I was effed. I’d just have to deal with a sexist coach or just a bunch of sexist boys. But if there was a sexist in my midst now, they’d be long gone. If we have problems, they don’t stay around.

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On other pleasures success has provided

Instagram Photo

There are some aspects of doing this that have been so exciting. Everything that I’ve done with fashion has been really fun for me. It’s been great delving into that. I love it. That’s my favorite part right now. I’ve always really loved fashion. I love getting my hair and makeup done. I just love putting on these insane, beautiful outfits. I feel like I’ve gotten really comfortable in front of a camera. It feels really fulfilling to me. Music is fulfilling, but I’ve always just loved fashion. It’s a nice “other” thing. I feel like a multifaceted person. Put a little hockey into the music video, a little bit of fashion on the side, and music in the center.

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Damon Lindelof pens emotional five-page letter detailing his vision for HBO’s Watchmen

Damon Lindelof is no stranger to backlash. Between his polarizing work on Lost, Prometheus, and Star Trek Into Darkness, the guy’s seen enough online vitriol to overwhelm an entire corporation. That’s why it’s not surprising to see him tackling an ever-fragile property like Alan Moore and Dave Gibbon’s much-beloved Watchmen series. As previously reported, he’s turning the iconic story into an HBO miniseries, and today, he shared a five-page mission statement on his Instagram account.

True to his self-deprecating ways, Lindelof starts the whole shebang off by writing, “Hello there. My name is Damon Lindelof and I am a writer. I am also the unscrupulous bastard currently defiling something that you love.” From there, he offers an incredibly honest and often scathing assessment of himself and his personal ties to the source material, which he likens to the Old Testament, a metaphor he uses to emphasize how his adaptation is more of a “remix” of the original story:

“We have no desire to ‘adapt’ the twelve issues Mr. Moore and Mr. Gibbons created thirty years ago. Those issues are sacred ground and they will not be retread nor recreated nor reproduced nor rebooted. They will, however be remixed. Because the bass lines in those familiar tracks are just too good and we’d be fools not to sample them.

Those original twelve issues are our Old Testament. When the New Testament came along, it did not erase what came before it. Creation. The Garden of Eden. Abraham and Isaac. The Flood. It all happened. And so it will be with Watchmen. The Comedian died. Dan and Laurie fell in love. Ozymandias saved the world and Dr. Manhattan left it just after blowing Rorschach to pieces in the bitter cold of Antarctica. To be clear. Watchmen is canon.”

So, it’s a sequel? Nope. Lindelof shoots that notion down, too, stressing, “But we are not making a ‘sequel’ either. This story will be set in the world its creators painstakingly built.… but in the tradition of the work that inspired it, this new story must be original. It has to vibrate with the seismic unpredictability of its own tectonic plates. It must ask new questions. and explore the world through a fresh lens. Most importantly, it must be contemporary.” He later adds, “Some of the characters will be unknown. New faces. New masks to cover them.”

In some respects, it sounds no different than what DC is already doing with Doomsday Clock, which is ostensibly a sequel to the original Watchmen stories, even though it exists mostly outside the universe. Regardless, there’s plenty reason to be intrigued by what Lindelof has up his sleeve, and given how he even admits this letter was partly inspired by Dr. Manhattan himself, you gotta respect his commitment to the material. Here’s hoping it’s another win for him in the vein of The Leftovers.

Read the full letter below and (maybe) revisit Zack Snyder’s direct 2009 film adaptation.

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Liam Neeson suits up and joins Sony’s Men in Black reboot

He’s taken on Sith lords. He’s taken on wolves. He’s taken on Taken. Next up, Liam Neeson will take on aliens, as he’s just agreed to suit up and join Sony’s forthcoming reboot of the Men in Black franchise.

According to The Hollywood Reporter, the veteran star will play the head of the London branch of MIB, where the movie is set. He’ll likely oversee the characters being played by Chris Hemsworth and Tessa Thompson. In theory, he’ll be replacing Rip Torn’s Zed, who served as the pessimistic boss to Will Smith’s J and Tommy Lee Jones’ R.

As previously reported, F. Gary Gray (The Fate of the FuriousStraight Outta Compton) will direct the movie from a screenplay by Iron Man screenwriters Matt Holloway and Art Marcum. The film hits theaters June 14, 2019.

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Björk returns to Jools Holland for first TV performance in eight years: Watch

Who would have guessed that Björk’s performance tonight on Later… with Jools Holland marked her first television appearance in eight years. After all, the Icelandic singer has released three studio albums in that time — 2011’s Biophilia, 2015’s Vulnicura, and last year’s Utopia — so you’d think she would have popped up on TV somewhere in there.

No matter. Björk was in fine form on the small screen, bringing her latest artful stage show to life with Utopia’s “Courtship” along with “The Anchor Song” from 1993’s Debut. Both performances saw Björk accompanied by a woodwind section, including a choir of flutists. If you recall, Björk previously expressed interested in releasing a live version of Utopia featuring more flutes, and this is a pretty mesmerizing preview. Catch the replay below.

Tonight’s episode of Jools Holland also featured performances from The Breeders and Laura Marling’s new project alongside producer Mike Lindsay, Lump.

Björk will next appear at this weekend’s All Points East Festival in London, England, which she’ll follow up with a stop in Barcelona, Spain the following weekend as an essential part of this year’s staggering Primavera Sound lineup.

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Death Grips unleash a noisy swarm with new song “Flies”: Stream

Death Grips’ forthcomingYear of the Snitch has been given to us in bits and scraps, with news of collaborations with Tool bassist Justin Chancellor and Shrek director Andrew Adamson preceding a look at the gross cover art. Earlier this month, the rap-metal outfit shared the album’s lead single, “Streaky”, which was then followed by the sludgy “Black Paint”. Now, the band’s dropped a third single, the hyperkinetic “Flies”.

True to its name, the song evokes a swarm of winged creatures, its spastic beat underscoring whirring synths, colorful drones, and MC Ride’s trademark bark. Check out its crazy, headache-inducing video below.

Death Grips’ follow-up to 2016’s Bottomless Pit doesn’t have a release date just yet, but, knowing them, it’ll probably drop when we least expect it. Stay on your toes.

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SZA recovering from swollen vocal chords, takes break from of The Championship Tour

TDE’s The Championship Tour will be without one its star attractions for the foreseeable future.

SZA already missed recent dates in Arizona and New Mexico and will remain sidelined for “the next few days of the tour” as she recovers from swollen vocal chords. Per TDE president Anthony Tiffith, the singer risks “permanent damage” if she doesn’t recover properly. “She’ll see the doctor again in a few days and I’ll update you guys on her status,” Tiffith added. “As for the dates she missed, we’ll figure out a way to make it up to you guys.”

The Championship Tour continues tonight in Houston, with shows also scheduled in West Palm Beach, Atlanta, and Virginia Beach this week. Despite SZA’s absence, fans will still get to see an all-star bill headlined by Kendrick Lamar and featuring ScHoolboy Q, Ab-Soul, and Jay Rock. Just remember: if you’re white and get invited on stage, please censor yourself.

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R. Kelly dismisses #MuteRKelly boycott in leaked video: “It’s too late”

R. Kelly hasn’t been in public much since new accusations of sexual abuse and his alleged “sex cult” came out last year. He’s played a few concerts here and there, but has mostly kept himself away from the media’s eye. Now, however, footage has come online of the R&B singer commenting on his critics and the #MuteRKelly movement to a private group of friends.

Speaking to the all-male group, Kelly says the efforts to silence his music has come “too late,” adding, “they shoulda did this shit 30 years ago. It’s too late. The music has been injected into the world.” He then proposes a toast: “To all the strong motherfuckers in here right now. Motherfuckers like you is why I still continue to do what I do, because I have a basketball mentality. As long as I’ve got the ball, the world is on defense.”

As SPIN reports, NBA forward Antoine Walker was amongst the people in the room and apparently live-streamed the moment on Facebook this past Wednesday, May 17th. Another man, Chicago’s Remus Jackson IV, later posted the video himself the follow day. Not long after, an attorney and media personality named Exavier Pop came across it because Walker was tagged in the post. He then reposted the specific clip you can watch below because he “deemed it extremely newsworthy.”

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The video is going viral just one day after word came down that Kelly is facing a new lawsuit. 20-year-old Faith Rodgers is suing Kelly for sexual battery, false imprisonment, and failure to disclose an STD. Court documents say Rodgers is accusing the 51-year-old singer of “unwanted sexual contact,” “abusive sex,” and knowingly giving her herpes.

Kelly has denied all allegations against him. However, this new video clip shows no such denials, just a staunch stance that he believes he is untouchable. Spotify, Apple Music, and Pandora may disagree.

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Grimes defends Elon Musk, says Tesla’s anti-union stories are “quite literally fake news”

Last week, Grimes revealed that she’s thinking of legally changing her name, and that her decision has been encouraged — as well as partially inspired — by her new boyfriend, Elon Musk. Now in the latest chapter of This Most Unexpected Romance saga, the musician born Claire Boucher has spoken out in defense of the Space X founder over some of his more controversial business practices.

Longtime Grimes fans have been quick to point out how Musk’s recent actions conflict with the musician’s more progressive views. In particular, fans took issue with Tesla and reports that the company fired employees that were trying to unionize. In a now-deleted tweet, Boucher attempted to shut down fans’ concerns by calling those reports “fake news.”

“He has never prevented them from unionizing,” she insisted. “It’s quite literally fake news. Trust me, I’ve investigated this heavily and even visited factories.” Additionally, she claimed to “have receipts” of proof, but declined to share any of them until she has new music to share.

That didn’t stop fans from pressing Boucher — a self-described “anti-imperialist” — on her new beau’s pro-capitalist ideology. (According to one Twitter user, Grimes took the “anti-imperialist” label out of her Twitter bio just a few days before she and Musk went public.) In the face of this criticism, Boucher continued to stand up for Musk, insisting that differing views shouldn’t keep people from “hanging out.”

“I can respect a capitalist when they throw the phuck down on creating cheaper safer public transit, taking humans 2 space, movin the world into clean energy, fightin for ubi etc.,” she wrote in a series of more since-deleted tweets. “Humans w differing views on economics often hang out.”

She eventually excused herself from the online chatter to “get back to work” — presumably on that new music that could come as soon as this week — but made it a point to thank her listeners for voicing their opinions.

“That said I respect yalls commitment to social justice. We all gotta work to make the world better,, I’ll stay on my game too,” said Boucher. She mentioned repeatedly that she plans to answer further questions on these issues in an Ask Me Anything-type of forum.

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Chicago rapper Femdot announces Delacreme 2, shares “Ryu”: Stream

Femdot is a first generation Nigerian and a graduate of DePaul University’s Department of Biological Sciences, imbuing the Chicago rapper with a fresh, far-reaching POV. He’s been making a splash in the local scene as a member of the Get Rich With Your Friends collective, and now the young talent is due to drop his debut LP, Delacreme 2, on June 6th via Closed Sessions.

“The root of who you are can be explained through a collection of moments in your life. These not only define you, but are used when one needs reassurance of what it means to be themselves, at the core. That’s what Delacreme 2 is,” Femdot says in a press statement. “By using defining moments in my life and keeping them in a place in my heart that I can access if I need to, I created a time capsule of sorts inside of me. So here’s that process on wax.”

Following up on the recently released “Alright”, Femdot’s shared new single “Ryu”, which features production by fellow Get Rich With Your Friends member Charles Lauste. Rich in disparate melodies and textures, the stormy track sets Fembot’s livewire rhymes against thundering pianos, church bells, and a ghostly choir.

Of the song, he tells Hottest New Hip-Hop, “‘Ryu’ really highlights the clash of karma and wants. Is doing questionable things to get what you want worth the karma that it brings?”

Check out the song below, as well as the album’s artwork and tracklist.

Pre-order the album here.

Delacreme 2 Artwork:

femdot album cover Chicago rapper Femdot announces Delacreme 2, shares Ryu: Stream

Delacreme 2 Tracklist:
01. Lost
02. Exit (Bounce)
03. Alright
04. Ryu
05. No Scholarships
06. Your Love (feat. Shawnee Dez & Sherren Olivia)
07. O’something
08. U Learn
09. Red Marlboros (feat. Sherren Olivia)
10. Snow In July (feat CRLCRRLL & Johari Noelle)
11. Empty Bottle
12. Listen and Stay Awhile (feat. Jack Red & Sherren Olivia)
13. Found

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