Photo: Jeremy Danger
Nancy Wilson On Her New Album, 'You & Me,' Missing The "Angels" Of Rock & The Future Of Heart
Nancy Wilson's upcoming album 'You & Me' is partly a reflection on her personal relationships—both with the living and those who have passed. Its single "The Inbetween," premiering exclusively via GRAMMY.com, is all about the liminal spaces of existence
Nancy Wilson was thumbing through some notes when she found a poem written by her son, Curtis. Perceptive and probing, it seemed to sum up our politically malignant era—and what was spiritually absent at the core of it.
"[He] wrote this poem for a class assignment," the Heart co-founder tells GRAMMY.com over the phone from her Sonoma County home. "I thought it was really clever. The words were so clever and so whimsical. He was like, 'Black and white, wrong and right.'" Feeling the words reflected tribalism and partisanship, Wilson flipped those dualities into a song, "The Inbetween." But instead of being portentous or doomy, the track is radiant and rocking.
"Putting it in a context of something more fun—a funny take on it all—takes it away from being so heavy and dark," Wilson adds. "It kind of sheds new light on a situation. It's a contrast from the heavy times we've had to live through and puts it in a different tonality."
"The Inbetween," which exclusively premieres above via GRAMMY.com, is the latest single from Wilson's upcoming album, You & Me, which drops May 7 via Carry On Music. Really, Wilson is preoccupied with in-betweens throughout the album—the spaces between life and death, dreams and memories, good relationships and poisonous ones. It's also her first solo album ever, despite making music with her sister, Ann Wilson, in Heart for nearly a half-century.
The sisters have had an up-and-down relationship over the last few years, and the pandemic gave Wilson space to define herself both within and without "the vortex that’s Heart." And while the door is open for the band to go out again in 2022, Wilson is cherishing the time to reflect and recalibrate—and You & Me is the heartfelt product of this period of self-examination.
GRAMMY.com gave Nancy Wilson a ring to discuss You & Me track by track, why it took her five decades to make a solo album and the future of Heart.
This conversation has been lightly edited for clarity.
Over the decades, what was the biggest obstacle to putting out a solo album, whether internal or external?
Well, I think I would call it the vortex that's Heart. There's a vortex of the work ethic of Heart for the last almost 50 years, just to be honest. I hate to even date it. But it's been a mind-bending job to do every year for the touring of it and the album after album—mainly, the touring of it all. You know, everywhere with electricity, we've played there.
It's an interesting dichotomy with the pandemic stopping the hurtling, you know. Heart's been hurtling through space for nearly 50 years. It's an interesting contrast to that to have to be shut in and be at home and stop the momentum and reconvene with your personal soul and self, in order to be able to know what to do musically and creatively with that time I had in my hands like everybody has had.
It's really a blessing, you know? It's been a blessing outside of the larger curse of it all to be able to reconvene with your communication with your own self.
Who were you thinking of when you came up with the album title—and first track—You & Me?
That's dedicated to my mom, who left us quite a while ago now. She's still in my skin, in my DNA. So it's kind of a gravity-free zone where I can talk to her in that song. I think the word "gravity," in and of itself, kind of keeps the song from walking that too-precious kind of a line. [laughs]
I think the personal, confessional kind of thing about this album—it's almost too sweet. It walks a line that's almost too sweet, but I think in another way, you could say that it's more of a revolutionary act to be that open and that honest. Walking the line of sweetness can be more of a rock attitude than hiding out behind your feelings. I'm sort of burying a lot of my feelings in this album.
And, you know, tongue-in-cheek stuff too, but the honesty of it is kind of a rebellious act on a certain level.
It seems like you're preoccupied with that line where sweetness could tip over into treacle. You're consciously trying to stay on the right side of that.
Yeah, exactly. It's almost, like, not supposed to happen. You're not supposed to do that. It's against the rules to be that honest, to bare your soul like that. I guess if that's an issue, then I don't know what is. [chuckles]
Tell me about your relationship with your mom.
She was a steel magnolia. I got a lot of her strength along the way. A military family, right? Marine corps, all those travels we had growing up were a strengthening kind of thing. We became really tight-knit as a family because we were always moving. Early touring experience, actually! [laughs]
She was the mom and my dad because our dad was off fighting wars. It's a total tribute to that strength of her character and her nurturing, strong, amazing … She was an amazing woman. When I sometimes dream of her, I feel like I got to see her again and I get to talk to her again. It's a zero-gravity space, and that's what the song is all about.
Can you describe the last dream where she showed up?
Yeah, sure. She took a lot of Super 8 home movies, and that's incorporated into the video [for "You & Me"] quite a bit. I took a lot of them too. She taught how to edit film and stuff, with the little editing machine. We used to make films in our family.
So, I used a lot of that footage in the actual video for the song and she appears in the video for the song. When I dreamt of her last, it was just her wonderful face. Her spirit. I felt like I had a conversation with her and the words were not even clear. It was just being together and the aspect of her spirit being there.
My collaborator, Sue Ennis, who's worked with us for years and years for Heart songs, had a song for her mom called "Follow Me." And I'd written a song for my mom called "You and Me and Gravity." I loved this music that Sue had. We both kind of have a mom thing. We've talked about our parents and we grew up together, so we had all those connective tissue things in our hearts about our moms.
So, we kind of collaborated on the ultimate mom song to try to reach into the ether and touch base with that. We morphed two songs into one. It's a hybrid mom song [laughs].
Tell me about "The Rising."
Well, luckily enough, a few years ago, we got to go to New York, when we used to be able to go anywhere, and we got to see "Springsteen on Broadway" live.
When I saw that show, it completely blew my mind. It changed my world around because I've always loved Springsteen and his amazing writing. Growing up with Springsteen on the radio, for instance, he'd be sort of behind this big wall of sound with this rock and roll accent where you could hardly understand the lyrics.
Then, seeing him live, completely by himself, stripped-down, those songs and those lyrics—it completely altered my perception of Bruce Springsteen. He's an insanely great writer. Those words are so depth-y. Later, after having seen that, I watched it a million times on the show you can watch on television. Then he did Western Stars, his other album that got me through the whole last Heart tour. It was life-saving stuff for me.
So then, when I started to do this album, I was like, "I should do this because of the pandemic. I should do 'The Rising' because it was written initially for 9/11." Now, we're having 9/11 every day, so that's why I thought it would be aspirational and helpful for people to have an inspired message like that to help them through this insane ordeal we're living through.
Do you know Bruce? Did you say hi to him after the show?
I didn't say hi that night, but I do know him. His people told our people that he really liked my version of 'The Rising'! That made my day—my whole year, actually—to know that he thought it was cool.
Tell me about "I'll Find You."
Sue had actually started that song with Ben Smith, the drummer. My Seattle folks. They had this song that is, like, a "friend who's going to be there for you" kind of song. The support system that you've always dreamed of having. That's what the song talks about.
I've always been that person where I'm there for my people, you know? I show up. It's a really simple way of saying that you're going to be there for somebody that needs you. And that's a big deal! I mean, that's a huge thing to be able to do for anyone.
Can you describe a recent situation in which you were able to be that for somebody?
[laughs] Well, if you live long enough, that happens frequently. If you are that person for your other people, it's not an easy role to play to show up for somebody that needs help. A lot of people don't have that skill, you know? A lot of people are not equipped with the emotional wherewithal to be there for anybody else but themselves. So, that's what that song is all about.
How about "Daughter"?
"Daughter" is a Pearl Jam song. I had actually recorded it earlier before I got into doing the album. I'd done that in Austin with an amazing producer, David Rice, for a film, actually, which was made in South Africa. It's a true story about human trafficking in South Africa.
This guy, Simon Swart, who made the film—it's about to come out, actually—he wanted to see if there was a song I could do for the film. And so I decided that "Daughter" would be a really cool idea, because there's a lyric in the song that says, "She holds the hand that holds her down." That was really telling about what it is to be a girl. The movie's called I Am All Girls and it's about to come out.
Anyway, that's the backstory on that thing. And for [Simon & Garfunkel's] "The Boxer," that's something I've been singing with Heart for the last tour. I've been singing that song all my life, basically. It's a really amazing song. Somebody told me that the chorus part—the "Lie-la-lie"—was initially a placeholder, but he kept it in the song like that because the verses are so wordy. It sort of opens up and he kept it that way from the initial demo of it.
I got Sammy Hagar to sing with me on that because he's a buddy. He's a rock god. He's funny as hell and he's a really good guy. I said, "Why don't you do something with me on my album here? I want to bring in some people that I love!" He said, "Yeah, OK! What have you got?" So, I said I've got this big rock song called "Get Ready to Rock," which is not on the album, actually. It's elsewhere now.
Anyway, long story short, he said, "Nah, that's too predictable. I don't want to be so predictable, to be the Red Rocker on a song about rock." So I said, "What about 'The Boxer'?" He said, "I love that song! I used to be a boxer!" So having him on that song was really special for me, because he brings such an attitude with him. There's only one of him in the world. That's him.
And then the Cranberries cover ["Dreams"]—me and Jeff, my hubby, were just driving around in Sonoma County. We heard it on the radio and he said, "You've got to get Liv Warfield to sing this with you!" She was my singer in my other band right before this, Roadcase Royale. I said, "OK! Let's just do that! I think that can be done easily enough!" And so we did that, and it turned out really fun and cool. Easy.
Photo: Jeremy Danger
How about "Party at the Angel Ballroom"?
I kind of heard myself saying something one night. I was like, "Wow, we've lost another angel of rock and roll." One of the angels that passed away recently, like Chris Cornell, Tom Petty, and now, Eddie Van Halen. It's kind of like, "Well, they're going to be having some big party up there at the angel ballroom." And it's like, "Hey, that's a good idea for a song!"
So I got Taylor Hawkins, who's another amazing friend, and Duff McKagan. I went and sang some stuff for Taylor for his last album, called Get the Money. Really good album. I said, "Well, I'm going to make a solo album now, so do you have any cool jams laying around, dude?" He's like [affects masculine voice] "Yeah, rad, man! I've got some cool jams kicking around, dude!"
He sent me this jam that they had. It was a completely long-winded jam that needed a lot of structuring. I structured it very differently from the original. And I had these words, so I put it together and it just became a fun sort of lark of a song. It's kind of a dark topic, but [you can] make it kind of a funny moment.
Sort of like the song "The Inbetween." That started with a poem that one of my boys wrote. I have two twin boys that are both 21 now. One boy, Curtis, wrote this poem for a class assignment—a poetry-writing assignment, I guess. I thought it was really clever. The words were so clever and so whimsical. He was like, "Black and white, wrong and right."
Now, after this horrendous political era we just tried to live through with all the bully-pulpit stuff we've had to deal with, I was scrolling through my notes and I found that again. I thought, "This is really relevant for our times that we're living through politically." But putting it in the context of something more fun—a funny take on it all—takes it away from being so heavy and dark.
It kind of sheds new light on a situation. It's a contrast from the heavy times we've had to live through and puts it in a different tonality.
Sounds like Curtis is pretty wise and perceptive. What do you learn from your boys?
You learn everything from your kids. Everything. Being a parent is not an easy thing to do. It's one of the bigger challenges you could ever face. Because when you love somebody that much and you're trying to help them survive through their own childhood. Because you care. Because you love somebody even more than your own life, your own self.
It's bigger than you are and you're responsible for it. The best thing you could ever possibly try to do is keep them alive long enough to figure it out for themselves.
How about "Walk Away"?
That's a story about a toxic relationship that you have to get out of. You have to face the truth of how you've enabled yourself to be hurt and you've enabled the relationship to go bad. It's kind of self-examination of "OK, I have to be brave enough to get this out of my life and take responsibility for what my part in it was."
It's kind of complex, but it's definitely a truth that we've all had to face at some point in our own relationship lives. There are some unhealthy things sometimes that leave behind.
Were you thinking of any particular relationship or was it a composite of relationships throughout your life?
[Laughs] Well, I'm not going to admit exactly what that's all about. There's been more than one! So, it's a conglomerate of various situations I've found myself in that I had to get out of and get over.
Photo: Jeremy Danger
How about "The Dragon"?
"The Dragon" is something I wrote back in the '90s. After the '80s, we went home to Seattle. That was a time when all the Seattle bands were exploding. I thought, "Oh, no! They're going to hate us because we're '80s dinosaurs!" But they were really sweet on us and we got pretty close with those guys.
At the time, our friends from Alice in Chains … Layne Staley was still walking around and talking. But he was definitely on a course that everyone could see. It was going to go badly. He was going to self-destruct. We all saw that coming. He was a sweet soul, you know? It was hard to see that inevitable demise. He was letting himself go down that dark ladder.
So, that's when I wrote that song. He was still alive, but everyone could see that. That's what that song was about. It's sort of a cautionary tale, but it's also a very heavy message because I don't think he had a chance against that dragon. It was just a sad story in advance of the sadder story.
That's been around for a long time. It never was destined to be a Heart song, although we tried to do that song a few times, in a few ways. It was on the Roadcase Royale album, which is called First Things First. That was a nice version of it. Somebody from the record company—my main guy, Tom Lipsky, from Carry On Music—said, "You've gotta do 'The Dragon' on your album!"
So, it was back by popular demand. I think this is the best version of that song yet. So far.
That's cool you knew Layne. I personally declare Dirt to be the most powerful album ever written about addiction.
Oh, for sure. Right? I love that band. I was so close with Jerry [Cantrell], Mike [Starr] and Sean [Kinney]—and William [DuVall], now. Mike Inez was actually in Heart for a while after Layne disappeared. He was our bass player for five years, I think. Michael Inez is one of the funniest humans on the planet, for Christ's sake. A seriously funny person. Maybe the funniest person I've ever met in my life.
How about "We Meet Again"?
That's kind of a take-off on Paul Simon. I cut my teeth on Paul Simon's stuff when I was nine, 10, 11 and 12. Early on in my playing life, as an acoustic guitar player. I'm actually glad I didn't get sued by Paul Simon because that basic guitar part in the song was a cue in Jerry Maguire, which was based on a Paul Simon-type fingerstyle part.
I kind of took that and ran with it and put lyrics to it, because I already had written it. I had already put that part together for the movie. If there's anyone to plagiarize besides Paul Simon, I suppose I could plagiarize myself [laughs]. That's the first thing I wrote for this album and I was just trying to touch base with my earlier self—my college-girl self with the poetry that I used to explore before I was in Heart.
Is Paul Simon the greatest living songwriter?
He's definitely in the top three, in my estimation. There's Joni Mitchell, there's Paul Simon, and of course, you have to include Bob Dylan in there. Maybe the Beatles. Those are the four pillars of greatness, I think, in music.
What about the last tune, "4 Edward"?
I wanted a tribute to Eddie [Van Halen]. When he passed away, I was really sad, of course. I was very moved to try to pay tribute to him in some way.
When we used to be in the same place together in the '80s—we did some shows with those guys—he told me he thought I was a really great guitar player on the acoustic. I was like, "How can you say that? You're the best guitar player on the planet! Why don't you play more acoustic yourself?" He said, "Well, I don't really have an acoustic guitar." Then, I promptly gave him one: "OK, you have one now."
The next morning, at the crack of dawn, he called my hotel room and played me this amazing instrumental on the acoustic I gave him. It was just one of the most beautiful things I'd ever heard. Just an exciting, inspirational moment, although he'd probably been up all night partying. So I thought I would return the favor and make him a piece of instrumental music on the acoustic guitar.
That's what I did. I put a little piece of the song "Jump" in there. I tried to approximate what I vaguely remembered from what he played me that morning.
I know things have been kind of hot and cold with your main project over the last few years. How would you describe your personal and creative relationship with Ann today?
Well, that's a loaded question. I think we're fine. We both kind of welcomed the break from each other and from Heart in a certain way.
I think there's a certain blessing inside the larger curse of the whole shutdown we've been living through. Personally, I feel like it's been a relief and a chance to reorganize who I am, thinking of who I am inside the larger picture of Heart and who I am outside of Heart altogether.
There's a lesson in this shutdown for me, and part of it is to remember who I am without defining myself as somebody in Heart. Which is a beautiful reckoning, I think.
There's an offer for Heart to go out in 2022. I think that would be awesome to do that. I would want to do that. But having been outside of the world of it and the pressure of it and the framework of it for this long now has been very freeing. I feel I've gained a lot of momentum as a person because of it.
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Photo: Kevin Mazur/Getty Images for The Recording Academy
5 Takeaways From Paul Simon's New Album 'Seven Psalms': A Plethora Of Spirituality, Humor & Devotion
An all-acoustic song cycle meant to be listened to from front to back, 'Seven Psalms' contains many of Paul Simon's poetic and musical dimensions in microcosm.
A psalm is a sacred song or hymn — especially one among King David's famous compendium in the Bible. Devotional music is obviously still around in different forms, but the ancient word is still on musician's tongues. Last year, Nick Cave and Warren Ellis released an album called Seven Psalms. And Paul Simon just revealed seven of his own.
Also called Seven Psalms, Simon's new album is out May 19, and it's a stunner. A 33-minute, all-acoustic, seven-song cycle meant to be listened to as one contiguous whole, it's one of the most intimate works the 16-time GRAMMY winner has ever crafted. That's saying something, given he put himself on the map with the pindrop "The Sound of Silence" nearly 60 years ago.
Seven Psalms is a work of heavy-duty spirituality; while it doesn't necessarily have a "confessional" nature, the listener will absorb reams of information about the state of Simon's artistry and psychology.
As you absorb this potent work from front to back, read on for a few things Seven Psalms reveals about Simon.
A Higher Power Is On His Mind
"The Lord is my engineer/ The Lord is the earth I ride on/ The Lord is the face in the atmosphere/The path I slip and I slide on," Simon sings in opening movement "The Lord" — a verse that becomes a motif throughout Seven Psalms.
But Simon isn't evangelical on the album; far be it from him to take a myopic view of anything in song. "Slip" and "slide" are the operative words here; Simon goes on to cast God as "the Covid virus," "the ocean rising," "a terrible, swift sword," "a puff of smoke" and "my personal joke."
Thus, the duality of religious belief permeates Seven Psalms — just as it did in "Questions for the Angels," "Old" and any number of other awe-inspiring songs about faith in his past.
"Dip your hand in heaven's waters," Simon sings in "Your Forgiveness," fully aware of the multitude of shades that concept encompasses.
His Guitar Skills Remain Undimmed
Occasionally, Simon barely touches his acoustic guitar during concerts, especially when his band is choogling away behind him. But he remains one of the greatest of his generation, and Seven Psalms displays that practically every second.
Simon played most of the instruments on Seven Psalms, including various bells and gongs, as well as far-flung instruments like gamelan and gobichand. But, naturally, it's the greatest treat to hear him stretch out on the acoustic guitar.
Harmonically, melodically and rhythmically, Simon's grace and facility on his instrument is second to none on Seven Psalms — and that's before he even gets to the words.
He's Still Very Funny
As psychologically and spiritually freighted as Simon's music can be, it's hard to remember a single song where he sounds ponderous. His razor-sharp sense of humor is a big part of that.
Simon’s one-liner game has always been strong; to hear "You Can Call Me Al" is to chuckle at least a little bit at the "roly-poly little bat-faced girl" line. (Ditto the opening line of "Kodachrome," which almost singlehandedly forged this author's opinion of the K-12 system.)
Third movement "My Professional Opinion" carries the lion's share of Seven Psalms' humor, from the opening verse: "Good morning Mr. Indignation/ Looks like you haven't slept all night/ In my professional opinion/ Go back to bed and turn off your light."
From there, Simon — or his character — continues to dispense unsolicited advice on everything — including the barnyard body politik. "I heard two cows in a conversation/ One called the other one a name," he sings. "In my professional opinion/ All cows in the country must bear the blame."
At the conclusion of "My Professional Opinion," Simon gets down to brass tacks and evokes Christ. "All that really matters/ Is the one who became us." (Sure.) "Anointed and gamed us." (Wait, gamed us?) "With his opinions." (Ba-dum-tsh.)
Edie Brickell Remains Indispensable To His Art
Simon's wife, Edie Brickell, is a GRAMMY winner in her own right who rose to prominence in the 1980s with her band, Edie Brickell & New Bohemians. The couple met in 1988 on the set of "Saturday Night Live" and married in 1992.
Since then, Brickell appeared on Simon's fantastic 2011 album So Beautiful or So What; his song "In the Garden of Edie," from 2016's Stranger to Stranger, is a tribute to her. She's also appeared onstage with him; during lockdown, they posted a video of themselves performing a luminous duet of the Everly Brothers' "I Wonder if I Care As Much."
During closing tracks "The Sacred Harp" and "Wait," Brickell appears and intertwines her voice with her husband's, right up to the final line: "Amen."
Simon May Not Tour Anymore, But He Remains A Force
Back in 2018, Simon announced his retirement. Sort of. Citing mental exhaustion, he booked one final tour — but didn't rule out occasional performances.
"I don't intend for it to be my last performance," he told CNN of the hometown show — in Queens — that wrapped up his farewell tour. "I'd like to do it for my own pleasure, in concert halls that have prestige sound and with perhaps different musicians that I admire, and play a repertoire that is different from what I've been playing." (Getting finicky about the details of concerts that haven't even been booked — classic Simon.)
Simon's still getting out there and playing — including at the "Homeward Bound: A GRAMMY Salute To Paul Simon" tribute last year. But more than that, the 81-year-old is still actively evolving and challenging himself.
"All of life's abundance in a drop of condensation," Simon sings midway through Seven Psalms, in "Your Forgiveness." That sums up Simon's art in microcosm: a three-minute song can leave you commensurately awestruck, puzzled, heartsick and laughing out loud.
As the craft of songwriting goes, that's just as high as you can climb — and on Seven Psalms, Simon waves to us from the summit.
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Photo: Tasos Katopodis/Getty Images for MTV Entertainment
10 Artists Who Are Outspoken About Mental Health: Billie Eilish, Selena Gomez, Shawn Mendes & More
From Ed Sheeran to Janet Jackson, take a look at some of the major music stars who have shared their struggles with mental health — and helped fans feel supported and seen in the process.
Sharing mental health issues with close family or specialized medical professionals can be challenging enough. Add in the pressures of fame and being in the public eye, and any struggles are exponentially more difficult to cope with.
In recent years, though, mental health has become a much more widely discussed topic in celebrity culture. Several artists have used their music and their platform to open up about their own struggles with depression, anxiety and the like, from Bruce Springsteen to Selena Gomez.
In honor of Mental Health Awareness Month this May, GRAMMY.com highlights the inspirational impact of music superstars who speak out about what they're going through, and how they manage their challenges. These 10 performers are making change through their courage and candor.
Ed Sheeran takes fans behind the curtain of his personal life and struggles with mental health in Ed Sheeran: The Sum of It All. The four-episode docuseries, which is now streaming on Disney+, details the pain of losing his best friend Jamal Edwards and his wife Cherry Seaborn receiving a cancer diagnosis while she was pregnant with their daughter Jupiter.
"What I think is really great about the documentary is the themes that it explores, everyone goes through," Sheeran said at the New York City premiere on May 2, according to the Hollywood Reporter. "Everyone goes through grief. Everyone goes through ups and downs of their mental health."
Sheeran dives deeper into his struggles — and is more vulnerable than ever before — on his latest album Subtract, which arrived on May 5. "Running from the light/ Engulfed in darkness/ Sharing my eyes/ Wondering why I'm stuck on the borderline," he sings on album cut "Borderline," which touches on battling suicide thoughts.
Like Sheeran, Scottish singer Lewis Capaldi also gave fans an incredibly upfront look at his mental health challenges in a documentary, How I'm Feeling Now. The new Netflix release details his experience with anxiety and Tourette's syndrome, taking viewers to physical therapy with Capaldi and discussing how his medication both helps and hurts the quality of his life.
Capaldi's second album, Broken By Desire To Be Heavenly Sent (due May 19) will further explore his anxieties and vulnerability. While he has admitted it wasn't easy to be so raw in his music and on screen, Capaldi wants to make a difference in other people's lives. "If people notice things that are concurrent with what's going on in their life, then it's all been worth it," he told Variety.
While Billie Eilish's music has been raw and real from the start, her music has become increasingly more vulnerable throughout the years. Whether in her music or in interviews, the star has opened up about dealing with body dysmorphia, depression and thoughts of self-harm — hoping to inspire fans to speak up when they are hurting, and to know that it gets better.
"It doesn't make you weak to ask for help," she asserts in a 2019 video for Ad Council's Seize The Awkward campaign, which features stars discussing mental health.
"Kids use my songs as a hug," she told Rolling Stone earlier that year. "Songs about being depressed or suicidal or completely just against-yourself — some adults think that's bad, but I feel that seeing that someone else feels just as horrible as you do is a comfort. It's a good feeling."
As one of the most-followed stars on social media, Selena Gomez has often used her formidable presence to discuss her mental health and connect with others. In 2022, the singer launched a startup called Wondermind, which is focused on "mental fitness" and helping users maintain strong mental health.
Just a few months later, Gomez further chronicled her own mental health journey in an Apple TV+ documentary, Selena Gomez: My Mind and Me, which shows extremes she's suffered with her depression and bipolar disorder. She has said she was initially hesitant to share the film, but ultimately reflected on how many others could be helped if she did.
"Because I have the platform I have, it's kind of like I'm sacrificing myself a little bit for a greater purpose," she explained in a 2022 cover story with Rolling Stone. "I don't want that to sound dramatic, but I almost wasn't going to put this out. God's honest truth, a few weeks ago, I wasn't sure I could do it."
In 2019, Shawn Mendes first publicly addressed his struggles with anxiety in the dynamic — and GRAMMY-nominated — hit "In My Blood." Three years later, the singer postponed his 2022 tour in order to focus on his mental health, opening up an important conversation to his legion of fans.
"The process was very difficult," he said in a February interview with Wall Street Journal. "A lot of doing therapy, a lot of trying to understand how I was feeling and what was making me feel that way. And then doing the work to help myself and heal. And also leaning on people in my life to help a little bit.
"It's been a lot of work, but I think the last year and a half has been the most eye-opening and growing and beautiful and just healing process of my life," he continued. "And it just really made me see how culture is really starting to get to a place where mental health is really becoming a priority."
Even an artist as successful and celebrated as Bruce Springsteen has faced depression. In his 2016 autobiography Born to Run, the 20-time GRAMMY winner cites a difficult relationship with his father and a history of mental illness in the family, sharing that he has sought treatment throughout his life.
"I was crushed between 60 and 62, good for a year, and out again from 63 to 64," he wrote in the book. In that time, he released his 2012 album, Wrecking Ball, which featured a raw track called "This Depression." "Baby, I've been down, but never this down I've been lost, but never this lost," he sings on the opening verse.
As his wife, Patti Scialfa, told Vanity Fair in 2016, "He approached the book the way he would approach writing a song…A lot of his work comes from him trying to overcome that part of himself."
The physical and emotional abuse suffered by the famous Jackson family is well-documented in books, documentaries and TV dramatizations. But it's only been in recent years that Janet Jackson has talked about her own depression, which she has referred to as "intense." Her son Aissa has helped her heal from mental health challenges that have followed her all of her life.
"In my 40s, like millions of women in the world, I still heard voices inside my head berating me, voices questioning my value," she wrote in a 2020 ESSENCE cover story. "Happiness was elusive. A reunion with old friends might make me happy. A call from a colleague might make me happy. But because sometimes I saw my failed relationships as my fault, I easily fell into despair."
After seeing global success with her debut single, "Ex's & Oh's," Elle King experienced the woes of sudden fame as well as a crumbling marriage. Her second album, 2018's Shake the Spirit, documented her struggles with self-doubt, medicinal drinking and PTSD.
"There's two ways out," she told PEOPLE in 2018, describing her marriage as "destructive," physically abusive and leading her to addiction. "You can take the bad way out or you can get help. I got help because I knew that I have felt good in my life and I knew I could get there again."
Certain public situations can trigger crippling anxiety attacks for Brendon Urie, who has been open about mental health concerns throughout his career. He can perform in front of thousands of fans, but he's revealed that being in the grocery store or stuck in an elevator for too long with other people are among some of his most uncomfortable scenarios in his life.
"You would never tell on the surface, but inside it's so painful I can't even describe," the former Panic! At The Disco frontman — who disbanded the group earlier this year to focus on his family — said in a 2016 interview with Kerrang.
Rapper Big Sean and his mother released a series of educational videos during Mental Health Awareness Month in 2021 — two years after the Detroit-born star started talking about his own long-held depression and anxiety publicly.
"I was just keeping it real because I was tired of not keeping it real," he said in an interview with ESSENCE in 2021. "I was tired of pretending I was a machine and everything was cool and being politically correct or whatever. I just was like, I'm a just say how I feel."
Like many of his peers, he hopes that his honesty will help others. "Whatever they can apply to their life and better themselves and maybe it just even starts a whole journey in a different direction as far as upgrading and taking care of themselves and bossing up themselves," he added. "Whatever they're trying to do, I hope it helps them get to that place."
How Durand Jones' Debut Album 'Wait Til I Get Over' Helped Him Explore His Roots & Find Self-Acceptance
Photo: Max Wanger
Chamber Ensemble yMusic Step Into The Light On New LP: "We've Been In Training For This Moment"
Contemporary chamber ensemble yMusic have backed up GRAMMY winners from Paul Simon to John Legend and St. Vincent. On their eponymous new LP, they reveal themselves to be a self-contained universe.
Over the course of a decade and a half, yMusic have pointed their arrow toward collaborators, happy to exist chiefly as facilitators and augmenters — until Paul Simon had something to say about it.
"Every time we'd work with songwriters and bands, they'd say 'So, when are you guys going to write your own stuff?'" the chamber group's violist, Nadia Sirota, recalls to GRAMMY.com. "And we'd be like, 'Oh no, what are you talking about?'"
If you know classical, you'll know this is par for the course. But when yMusic appeared with Simon on his 2018 album of reimagined deep cuts, In the Blue Light, "He was like, 'You guys have to figure out what your voice is as an ensemble yourself,'" Sirota says. "We took him seriously."
With that encouragement from the 16-time GRAMMY winner under their belts, yMusic partitioned time in their rehearsal schedule for writing — and that built a bridge to their autonomous, eponymous new album of originals, which arrived May 5.
YMUSIC places the young sextet — Sirota, flutist/vocalist Alex Sopp, clarinetist Hideaki Aomori, trumpeter CJ Camerieri, violinist Rob Moose, and cellist Gabriel Cabezas — within a concise framework, emphasizing each composition's innate singability and dramatic arc.
"One organizing principle that we kept coming back to was the idea of song form, because that almost felt foreign to our body of work in a cool way," Moose, who has won two golden gramophones, tells GRAMMY.com. "But also, because we've collaborated with songwriters so much, it felt at home to us."
As you absorb YMUSIC's multivalent highlights like "Zebras," "Three Elephants" and "Cloud," read on for an interview with Sirota and Moose about the group's 15-year creative journey, what they bring to the table for singer/songwriters and how this consolidative work came to be.
This interview has been edited for clarity.
The press release for YMUSIC says it finds "the group focused on discovering an artistic voice all their own."
Nadia Sirota: A really important thing to know about the group is that we've been around for 15 years, but every single thing that we've done prior to the album has been a collaboration with another artist.
We have worked with a ton of amazing composers, bands and songwriters, and it's been a joy and a pleasure to work with all those people, but we had never created any original music until we started the process that resulted in this album.
So, it's been really amazing to double down on the creativity within the group. We've always been pretty hands-on in our collaborations with other people — and certainly super-opinionated, and very into editing and honing and re-orchestrating.
The whole time, we had a very creatorly hand, I think, on these collaborations, but we've never really made music ourselves — so that's what this is about.
Was this by design over the past 15 years? To augment other musicians?
Sirota: Yeah, and I think a lot of it, honestly, comes from the fact that we all come from a pretty classical background despite where we ended up in the world. In the classical-music world, it's more common than not that you are either a composer or a performer.
There are some people who do both things in an explicit way, but if you're training as a performer, you're training as an interpreter…. who's working on Brahms and Beethoven and Rebecca Clarke and all that stuff.
Even if you're doing new music, you're working with composers. We took that as we became a young new music ensemble, like so many other new music ensembles.
Rob Moose: I feel like our origin story — our mission from the beginning — was about empowerment.
We were active as freelance performers equally in new classical or classical music, but also in working with songwriters and bands. We had a lot of respect for the groups we were working with outside of classical music, and felt like they were being underrepresented in who was performing their music — or even how they were looking at their collaborative work.
So, I think built into the group's DNA was this idea of helping to — not elevate by our presence, but just lift up these people who were doing great work and give the best possible presentation to it.
We were always interested in underdogs, in a sense, and it just took us a long time to look at ourselves in the same way: Can we help our own voices get out there?
I think we realized that we've been in training for this moment all those years and we're really excited to step into this new role.
Sirota: Another angle of this is that these pieces have really been written collaboratively. It's not like one of us came with a whole bunch of ideas and doled out parts and figured it out.
In the very earliest phases of this, the six of us would get into a room with nothing and just try to create something — and six people is a lot of people to be in that creative space. I think we were all just delighted at how well it worked.
Then the pandemic hit. Everyone had to go our separate ways, but because we had forged this way of working together, we were able to keep that up over digital spaces and figure out how to collaboratively write and hone and record all this stuff.
I'm most intimately aware of your work on Okkervil River's Away and Paul Simon's In the Blue Light, although I've heard yMusic in any number of other contexts. How do you tailor your approach and methodology to each artist you work with?
Moose: I think each collaborator we've worked with has really set a tone for the way in which we'll approach the results we're looking for.
Ben Folds and Bruce Hornsby were two really important people for us that helped us get off the page and encouraged us to do the homework and create the parts — but also find freedom in live shows, or in recording studios, to create in a less conventional way for us.
Paul Simon did too, but also, he was the most meticulous about editing and refining the ideas. Which makes sense, because if you look at his work — his words, the stories, the structures of what he's created, the interaction with different styles and cultures of music — I think thoroughness is something you would never imagine would be a missing ingredient there. I feel in some ways, he pushed us to be in the moment, but also be the most under the microscope.
I think our group always approaches collaborations the same way: with great seriousness and joy and admiration for who we're working with. We take cues from the people we're working with about what's going to work best for them, as well as their audience.
Sirota: We've learned to be adaptable to all different processes, whether it's from audio first or chords first or written notation or just a vibe.
Sometimes, when I'm trying to create something alone, I get mired in my critical brain and it's really hard to work. I think the cool thing about the systems yMusic has built to work with is that they don't start from a critical place — although we get super-critical.
Moose: Being there's so many people in the group, one of the benefits is that we're still able to observe each other and pull ideas out of each other like those collaborators did for us.
A lot of pieces of music that we composed for the record started with almost eavesdropping on our neighbors as they were warming up, like: "What was that sound you just made? What is that technique that you're doing?" We would be able to shine a light on somebody else's idea that they might consider completely insignificant and perfunctory, not the basis of a composition.
To be able to bear witness to that and encourage it, that's something we learned from our collaborators; they helped us see that in ourselves, and I think we also helped them find things in that way. So, we've been really excited to keep that as part of our process.
As the violist and violinist in yMusic, how would you two characterize your interplay and function as cogs in the musical machine — both between you two and the ensemble as a whole?
Sirota: I feel like there's definitely a certain amount of rhythm viola that I sometimes play in the group. There are our most obvious functions, and then our auxiliary functions.
In the group, the only tools we have as a bassline are the cello and bass clarinet, really. So, there are ways in which those guys really end up functioning that way, and then sometimes, we totally subvert that.
The broadest spectrum of the group is piccolo to bass clarinet, kind of. Sometimes, we use that spread to kick it up a little bit. If we want to add some energy, we'll either pull something up or pull something down in a really nice way.
Being a violist is a funny thing, because you're always adding butter to the sauce. You're not necessarily the main thought of it, there's a way in which you can really add an unctuousness to the sound. Usually, I'm just trying to add a little bit of texture and excitement.
Sometimes, Rob and I are in the stratosphere doing light disco string lines or whatever. There's all sorts of flexibility in the way that this group works. Sometimes, we throw viola over to the wind side and have flute and violin do string things. There are really so many different options with the group.
I don't know if you know this, but the [template of] instrumentation that we have hasn't existed before. So, we have had the great luxury of trying to figure out every single thing that it can do, and there's some neat stuff.
Sometimes, the cello is up in the violin and viola range, too, so we have this crazy high-string section for the violin section, but made up of things that are in that register, with timbres that are slightly more exciting, in my mind.
Moose: I think, in some ways, the role that you have, Nadia, is maybe the most diverse in the group.
With cello, you can form that core low-string, warmth, support thing. Then, some of my favorite combinations are when we pair bass clarinet with viola and horn for that warm triadic lifestyle. Then, like you pointed out, you'll be doing high stuff in octaves or unison with me.
Sometimes, two or three of us can represent what the guitar or piano would do. I do love being on this bright team, sometimes, with trumpet and flute. Part of my journey has been to learn how to attempt to mimic the way their notes end, which is so abrupt compared to the way our notes end.
yMusic. Photo: Max Wanger
What were the core ideas that dictated the framework of YMUSIC?
Moose: We didn't start with an intention to write a record, necessarily. It was more of a commitment to figure out what would happen if the six of us, 13 years into our journey, decided to collaboratively compose in real time with no cheat sheets, no prep, no collaborators.
Sirota: Anything can inspire the beginning of something, and then the material itself dictates where it ends up having to go. Oftentimes, we set out to do something that was not where we ended up, but it brought us somewhere else that was really cool. I think that's the nature of writing.
YMUSIC really breathes as a listening experience; it's sequenced rather well, in my opinion, and the drama seems to expand and retract.
Sirota: That was certainly the goal, and I will say we had a lot of material for this album. Pulling it together in a way that felt both exciting and kind to the listener was the goal.
The thing about the six of us is we can get in this hyper twin-language thing where we keep wanting to gild the lily, and keep on wanting to work. We could probably obsessively rewrite every single one of these songs until we die, if we wanted to.
Moose: We have pieces in there that felt like anchors that you want to arrive at in different moments, like "Baragon," "The Wolf" and "Three Elephants" — the structural beams that are [tracks] one, four and seven.
I think it felt important to end with the piece "Cloud" — the last piece that we worked together on in the room before the pandemic started. The idea of that piece was to try to introduce something positive and soothing and nurturing in a moment of uncertainty.
Sirota: Interestingly, "Baragon" is one of the most recent things that we wrote. So, we bookended the album with these two works that were important for us in the process of writing, and figured out a way to get from point A to point B.
As 2023 rolls on, what's in the works for yMusic, and what would you like to eventually do?
Moose: We got to play the entire record for the first time at Carnegie Hall in January, which was really exciting.
I know we're really looking forward to presenting the work more — especially the concert that we did — the first half being music we composed, and then the second half being two premieres from two composers that we really admire.
I think it's important] to hear our work alongside work like that, and not separate them and be like, We did that before, we're doing this now, but be like, All of these things are who we are.
Sirota: We've got some upcoming collaborations we can't quite talk about yet. So, there's the stuff on the songwriter side that will be percolating.
The stuff on the composer side that we can talk about is: we're excited to record this brand-new major work by Andrew Norman soon, and a new piece by Gabriela Smith coming in the next season or so. Alongside this, we're going to carve out more time to write more stuff.
A neat thing about this group, which has always been true, is it's not the only thing that any one of us is supposed to do. We have always treated it like an extremely important part of our lives, but we all also do other creative things, and they're not all in the same realm at all.
So, I feel like a nice thing is that when we do come together, we're always coming with a fresh perspective.
Yo-Yo Ma On His Lifelong Friendships, Music's Connection To Nature & His New Audible Original, Beginner's Mind
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15 Must-Hear Albums Out In May: Jonas Brothers, Summer Walker, Paul Simon & More
From Sparks' offbeat 'The Girl Is Crying In Her Latte' to the heartfelt storytelling on Lewis Capaldi's 'Broken by Desire to Be Heavenly Sent,' and growth set to R&B from Lola Young and Arlo Parks, check out 15 albums dropping this May.
Spring is in full bloom, and with it comes a slew of inspiring records and unmissable tours. May brings upon us the return of giants and some promising newcomers, and whether you like the country music of Parker McCollum or the Mexican pop of AQUIHAYAQUIHAY, this month's releases offer something to please every taste.
This month, the Jonas Brothers finally make their awaited return with The Album, while Ed Sheeran completes his math symbols series with Subtract. Paul Simon will turn dreams into reality with Seven Psalms, and Tuareg collective Tinariwen will continue their desert blues exploration on Amatssou. Early aughts pop-punk outfit the Exploding Hearts will get a remastered, expanded reissue, and dance music maven LP Giobbi will make her studio album debut with Light Places.
Below is a guide with 15 must-hear albums dropping May 2023. Read on for known names that might reignite your passion, and budding acts who will make your curiosity flourish.
Ed Sheeran - Subtract
Release date: May 5
Completing Ed Sheeran’s series of albums titled after mathematical symbols, Subtract (stylized as -), will feature 14 cuts that deal with the singer’s "fear, depression, and anxiety" throughout the hardships that shaped his past year, according to an Instagram post.
Sheeran added that his wife’s tumor diagnosis while pregnant, the death of his best friend Jamal Edwards, and a 2022 plagiarism trial "changed my life, my mental health, and ultimately the way I viewed music and art," prompting him to scrap "a decade’s worth of work with my deepest, darkest thoughts."
Produced by the National’s Aaron Dessner, Subtract is billed as an acoustic album, ranging from "pared back, folk-leaning textures to bolder, full-band/orchestral arrangements," which can be seen through pre-release "Boat" and lead single "Eyes Closed."
Jonas Brothers - The Album
Release date: May 12
The Jonas Brothers’ sixth studio album has been teased since 2020, but after several delays (including the COVID-19 pandemic), the The Album will be unleashed into the world. The trio told Variety that the follow-up to 2019’s Happiness Begins "features elements of classic ’70s pop and Americana with a modern edge," and was inspired by another sibling trio — the Bee Gees — as well as rock bands the Doobie Brothers and America.
Produced by Jon Bellion (who is also the album’s only featured artist), most of its tracks were performed at the Jonas Brothers’ fifth and final Broadway show on March 18, 2023. However, expectations remain high as the album release will be accompanied by a yet-to-be-announced tour.
Kaytraminé - Kaytraminé
Release date: May 12
Fusing the talents of top-rated producer/DJ Kaytranada and rapper Aminé might have been one of the most ambitious efforts of 2023.
Although they have been frequent collaborators since 2013, including Kaytranada producing three songs out of Aminé's 2015 mixtape Calling Brio, this is the first time they unite forces for a whole record as Kaytraminé.
The project's first single, "4EVA," features the Neptunes' Pharrell Williams on vocals and co-production. Judging by its vibe, it seems like summer already has an official soundtrack.
Parker McCollum - Never Enough
Release date: May 12
2021’s Gold Chain Cowboy set Parker McCollum on the path to becoming a country music star. The major label debut followed two self-released albums — 2015’s The Limestone Kid and 2017’s Probably Wrong, and ended up winning New Male Artist of the Year at the American Country Music Awards — as well as a double-platinum single, "Pretty Heart," and a gold-certified single, "To Be Loved by You."
McCollum continues to look forward with Never Enough. Among its 15 tracks, there is the first time he ever said "beer" in a song, as well as singles "Handle on You," "Stoned," "I Ain’t Going Nowhere," and "Speed." The singer is also extending his tour through the summer, with the participation of fellow country artists like Larry Fleet, Randy Rogers Band, and Flatland Cavalry on some dates.
LP Giobbi - Light Places
Release date: May 12
Boundary-bender musician, producer and entrepreneur LP Giobbi believes in "letting yourself get lost and finding out it’s exactly where you were supposed to be."
The statement, and title of her debut studio album Light Places, follows lyrics from the Grateful Dead’s "Scarlet Begonias": "Once in a while you get shown the light in the strangest of places / if you look at it right." Giobbi, who is also a confessed Deadhead, said that the lyrics are one of her father’s favorites, "and almost a philosophy for the way he lives and taught my brother and me to live."
Produced almost entirely during flights while she toured the world with her "one-woman jam band" DJ sets, Light Places expands Giobbi’s classical jazz training into buoyant dance rhythms, and features collaborations with DJ Tennis, SOFI TUKKER, Caroline Byrne, and more. As a preview, she recently released singles "Can’t Let You Go (feat. Little Jet)" and "All I Need."
AQUIHAYAQUIHAY - NO ME BUSQUES DONDE MISMO
Release date: May 12
The forerunners of M-pop (Mexican pop) and a self-professed "anti-boyband," AQUIHAYAQUIHAY are known for blending traditional Latin genres with R&B and hip-hop. The 20-something quintet are set to release a new album, NO ME BUSQUES DONDE MISMO.
Formed in 2016, AQUIHAYAQUIHAY released their debut album, DROPOUT in 2019 and signed with DJ/producer Steve Aoki’s Latin underground label, Dim Mak en Fuego. The group dropped two EPs in 2021, titled :) and :(.
Although the sounds and influences in NO ME BUSQUES have yet to be revealed, the band released two preview singles, "Duelo" and "B-day," a TikTok teaser, and announced a Mexican tour in June.
Summer Walker - Clear 2: Soft Life
Release date: May 19
"Y’all ready for some new music?" Summer Walker asked the crowd during her set at April’s Dreamville Festival. The question was preceded by the announcement of her upcoming EP, Clear 2: Soft Life.
Clear 2 is a sequel to Walker’s first EP, 2019’s Clear, which was released just nine months before her breakout debut studio album, Over It. Debuting at No. 2 on the Billboard 200 chart, the LP earned the biggest streaming week ever for an R&B album by a woman, and set the singer as a force to watch. Her 202 sophomore album, Still Over It, surpassed its predecessor and debuted at No. 1 on the same chart.
"This one — I want it to be a lot longer so I can really get that sound out," Walker recently told Billboard about her upcoming EP. "I make what I got to make for the radio, but I’m very excited for [Clear 2]. Hopefully, my budget will be permitted."
Lewis Capaldi - Broken By Desire To Be Heavenly Sent
Release date: May 19
"If it ain’t broken, don’t fix it" seems to be a saying that Lewis Capaldi currently lives by. The Scottish sensation said in a press release that he doesn’t want to "create a new sound for myself, or reinvent myself," and therefore his much-awaited second studio album, Broken by Desire to Be Heavenly Sent, will follow his usual emotionally-driven delivery.
The album was recorded with a minimal set-up, consisting of only a "small interface, laptop, speakers, and a Shure SM7B vocal mic," as well as the same team who worked on his first album, 2019’s best-seller Divinely Uninspired to a Hellish Extent: TMS, Phil Plested, Nick Atkinson and Edd Holloway.
Preceded by singles "How I'm Feeling Now," "Forget Me," "Pointless," and "Wish You the Best" — of which the last three topped the UK Singles Chart — it looks like Capaldi’s right to bet on his tried and true formula, with enough skills to spark curiosity from the audience, over and over again.
Paul Simon - Seven Psalms
Release date: May 19
Seven Psalms is Paul Simon’s fifteenth album, and his first of new material since 2016’s Stranger to Stranger. According to the six-decade-spanning singer, the project came to him in a dream and was inspired by the Book of Psalms.
Including seven acoustic tracks that are meant to be listened to as one uninterrupted piece, the album also features British vocal group VOCES8 and a participation by Simon’s wife, singer/songwriter Edie Brickell.
Seven Psalms is said to be a departure from any of his previous work, which encompasses the illustrious Simon & Garfunkel albums Bridge Over Troubled Water, Sounds of Silence, and more. An accompanying documentary, In Restless Dreams, is also set for release.
Juanes - Vida Cotidiana
Release date: May 19
While Juanes found immense success in 2021 with his cover album Origen, winning Best Pop/Rock Album at the Latin Grammy Awards and Best Latin Rock or Alternative Album at the GRAMMY Awards, his latest original work dates back to 2019, with the LP Más futuro que pasado.
Considering the events the world went through, 2019 feels more like a century ago. Therefore, Vida Cotidiana (or "daily life," in Spanish) arrives as a testament to the Colombian star’s reflections and changes during this turbulent time.
The 11-track collection also marks Juanes’ return to rock and Latin American folk foundations, while examining "love, marriage, family, and his country," according to a press release. So far, he released three lovelorn advance singles off the album: "Amores Prohibidos," "Gris" and "Ojalá."
Tinariwen - Amatssou
Release date: May 19
Amatssou means "beyond the fear" in Tamashek, the native language of the Tuareg collective Tinariwen — which, in turn, means "deserts." Known for their sociopolitical resistance and commitment to portraying the struggles of Mali, Amatssou stands as a fitting title for the band's ninth studio album.
Recorded inside a makeshift studio tent in Algeria, the record was produced in L.A. by GRAMMY winner Daniel Lanois) and features country musicians Wes Corbett and Fats Kaplin, furthering the collective’s link to the musical style. In a press release, Tinariwen are said to "have always been a country band, albeit a North African take on that most North American of genres."
Tinariwen will embark on a U.S. and Europe tour starting on May 27 in Chicago’s Old Town School of Folk Music. They will also perform at festivals including Glastonbury and Roskilde.
Arlo Parks - My Soft Machine
Release date: May 26
Contrasting with her delicate voice, British singer/songwriter Arlo Parks said in a statement that her sophomore album, My Soft Machine, is all about "the mid-20s anxiety, the substance abuse of friends around me, the viscera of being in love for the first time, navigating PTSD and grief and self-sabotage and joy." In summary, it’s a record about "what it’s like to be trapped in this particular body."
With an exceptional talent to transcribe raw emotions into contemplative, spacious music, Parks has given a taste of what to expect from this release through the singles "Blades," "Impurities," and "Weightless." She will also celebrate this moment by touring Europe and Asia in the following months, including performances at Spain and Portugal editions of Primavera Sound Festival
Lola Young - My Mind Wanders and Sometimes Leaves Completely
Release date: May 26
"And I like to think that I'm growing up and that I'm learnin'/But I've no idea what's underneath," reflects the south Londoner Lola Young on "Stream of Consciousness," the lead single for her upcoming album, My Mind Wanders and Sometimes Leaves Completely.
Following up on her 2021 EP After Midnight, the release is said to reflect Young’s "journey towards being a woman and figuring out who I am." Through her poignant lyrics, the 21-year-old gives a glimpse into the joys and pains of love in the 2020s. "I swear it don't hurt / You're looking at her / I'm looking at you," she muses in "Annabel’s House (From The Train)."
Nominated for the Rising Star Award at the 2022 BRIT Awards, she also revealed in an interview for NME that the album will be "slightly different" from her previous work, featuring more retro, alt-rock, and indie influences with a "raw edge."
The Exploding Hearts - Guitar Romantic (Expanded & Remastered)
Release date: May 26
The short-lived but still impactful Exploding Hearts will get a brand new chance of reaching more fans this spring. Their 2003 album of power-pop classics, Guitar Romantic, is being reissued to celebrate its 20th anniversary.
Soon after the album release in 2003, three members of the band tragically passed away in a van accident while returning home from a gig in San Francisco. Surviving members King Louie Bankston (who passed away last year) and bassist Terry Six maintained their legacy through the duo Terry & Louie. Now, Six partnered with the band’s original producer, Pat Kearns, for the album reissue, and plans to play tribute shows in the upcoming months.
Guitar Romantic (Expanded & Remastered) will feature unreleased material, like conversations from the members, a King Louie Mix of "I’m A Pretender," and an unheard version of "So Bored."
Sparks - The Girl Is Crying In Her Latte
Release date: May 26
"So many people are crying in their latte" is the kind of musing about the contemporary world that only outlandish duo Sparks could have transformed into an engaging, nifty track. The lyrics come right off "The Girl is Crying In Her Latte," a preview single from their upcoming studio album of the same name.
Starring Cate Blanchett and her dandy dance moves in the music video, the track is proof that Sparks still have their finger on the pulse of culture, even after five decades of activity. "Veronica Lake," the second single off the project, keeps that same vein, bringing a modern spin to the narrative of actress Veronica Lake changing her hairstyle in order to protect factory workers during World War II.
The Girl Is Crying In Her Latte arrives after 2020’s A Steady Drip, Drip, Drip, and will be their first release under Island Records in 47 years. The pop rock pair is also scheduled to tour multiple cities in the U.S., Europe, and Japan in the summer.
Behind Shania Twain’s Hits: How A Hospital Stay, A Balmy Porch And A Hair Nightmare Inspired Her Biggest Hits & Videos