Author: Press Room
Some of the most beautiful songs about pain unfortunately talk about the pain of those who no longer want to live. Daniel D`Amico for SANREMO.FM
After four years of recording silence, Matteo Faustini returns with a new single. Is called We were born freecomes out on Friday 29 May on the radio and on all digital platforms, and is the first step in a new path after the Sanremo Festival and the two albums released in recent years. There have been years in which Faustini he didn't really stop: he continued to play live, on Italian stages, building a relationship with those who follow him which has become the basis of this return. What changes is the perspective of this new song. “We were born…
Will Toledo loves to tinker. Even in the early days of his project Car Seat Headrest—back before he became widely recognized as an indie-rock wunderkind—he occasionally re-worked old songs until they felt right. (Take, for example, “Oh! Starving,” originally recorded in 2010, then rerecorded it in 2012 and again in 2015.) But after signing to Matador Records, Toledo took things up a notch, releasing Teens of Style, a compilation of remakes picked from his greatest non-hits scattered across his Bandcamp recordings. Notably, he didn’t redo any songs from Twin Fantasy, 2011’s dense breakup chronicle that completists considered his magnum opus;…
The original Stage Girl was pitched as, essentially, The Rise and Fall of a Northeast Doll, with a narrative focus on Eli’s pre-transition life. Art about the angst of living closeted is unfortunately timely, and despite its glittery production, the record conveyed that pain. Yacht-rock revival track “Marianne,” in which Eli’s pre-transition narrator desperately pines after a woman who’s in love with “another” man, is like “Good Luck, Babe!” if Chappell Roan didn’t even know she was a woman yet. Meanwhile, on “Falsetto,” she whispers, “Sometimes when I’m inside of you/I wonder what it would be like to really be…
For a band that hasn’t released new music in 10 years, Radiohead never really went away. For much of the past decade, Thom Yorke and Jonny Greenwood have maintained a constant presence in our feeds with their myriad extracurricular projects; Colin Greenwood’s become an honorary Bad Seed; and Philip Selway has kept busy with solo albums and side hustles. All the while, OK Computer gets strip-mined for TikTok fodder and the band makes headlines for reasons both momentous and contentious. But even as his bandmates turn up everywhere from Oscar-nomination lists to Flea solo albums, Ed O’Brien has lived up…
The singer-songwriter announces the presence of Fabrizio Moro. But Venditti spoils his presence… Daniel D`Amico for SANREMO.FM
Crazy to think of a time when I’d rather hear anyone but Bladee on a track. The Swede’s quaint, throaty delivery made so much of his earlier, unpolished work feel draped in irony, as though anybody bumping his music was part of some inside joke. But because of his malleability and knack for uncanny melody, I grew to love the same qualities I used to reject. He never needed to explain himself. Bladee’s sometimes-playful, always-nihilistic autofiction has made his presence a guiding light, one that’s changed hues and cast new shadows over time. The anecdotes he’s penned–on ego death, on shopping…
The company was divested by CBS Corporation (now part of Paramount Skydance Corporation) Daniel D`Amico for SANREMO.FM
Sixteen years after their last studio album, Durutti Column return with a new album. The group led by Vini Reilly will release “Renascent” on July 31st via London Records. The single “Liars” arrives ahead of it, the first extract of the work (you can listen to it below). The announcement comes a few months after the reissue of “The Return Of The Durutti Column”, the Manchester band's historic debut originally released in 1980. Mark Holt and Hamish Muir of 8vo, two graphic designers historically linked to Factory Records, were involved in the cover of “Renascent”.Alongside Reilly, percussionist Bruce Mitchell and…
As the online public continues to throw a temper tantrum over Olivia Rodrigo's choice to don a baby doll dress while promoting her third LP, You Seem Pretty Sad for a Girl So In Love, the singer-songwriter weighed in on the controversy. After wearing a pink flouncy dress for the album's cover, a similar blue one for the “Drop Dead” music video, and rocking out at Barcelona's Teatro Greco for Spotify's Billions Club Live while wearing a floral babydoll dress with matching bloomers, the getup triggered a storm of criticism as many internet commenters lodged accusations that the 23-year-old pop…
