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centered around her impressive, acrobatic vocals. After releasing a variety of dreamier tracks beginning in 2012, her 2015 full-length debut, Me, established a danceable, more spontaneous sound that embraced whimsicality and percussiveness.\r\nBorn in Los Angeles and raised on Latin music and jazz, Rodriguez became obsessed with Björk as a teenager and decided to become a musician. She moved to the East Coast and began experimenting with music software on her laptop. She first gained attention by anonymously uploading a series of 15-minute-long experimental demos called \"colorminutes\" (named because they were simply accompanied by a single color each) to YouTube in 2012. Her first 7\" single, the dreamy, downtempo \"Champagne\"/\"Don't Tell Me,\" was released by No Recordings in November of that year. Japanese label Big Love Records released Colorminutes on cassette in early 2013, and Empress Of signed to Terrible Records and Double Denim Records for the release of her 12\" EP Systems. The EP's Spanish-language single \"Tristeza\" was remixed by El Guincho, Delorean, and Pional. \r\nRodriguez spent 2014 working on music, and released the online single \"Realize You,\" which was significantly more uptempo and focused than her previous recordings. Tracked in Mexico City, New York City, and Montreal, Empress Of's debut album, Me, arrived on XL/Terrible Records in September of 2015. It made the Top Ten of the Billboard Heatseekers and Top Dance/Electronic Albums charts. She followed it with the stand-alone singles \"Woman Is a Word\" and \"Go to Hell\" in 2016 and 2017, respectively. In 2017, she also collaborated with DJDS on two tracks, including a cover of Lana Del Rey's \"Love.\" Both songs appeared on the EDM duo's May 2018 LP, Big Wave More Fire. That October, Empress Of released her second full-length, Us, on Terrible Records. The same month, Khalid put out the EP Suncity, which featured Empress Of on the title track. \"Suncity\" marked her first appearance on the Billboard Hot 100, where it peaked at number 88 while hitting the Top 50 in Canada. She supported Maggie Rogers on tour in 2019, and returned with her third album, the club-friendly I'm Your Empress Of, in April 2020. ~ Paul Simpson","editorialArtwork":{},"genreNames":["Alternative"]},"relationships":{"albums":{"href":"/v1/catalog/us/artists/568038037/albums?l=en-US","data":[{"id":"1426105502","type":"albums","href":"/v1/catalog/us/albums/1426105502?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music128/v4/ba/26/f5/ba26f5b9-8b65-61c5-a91e-e3066957eef4/00602567987031.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"e8c36b","textColor1":"010201","textColor2":"4e1811","textColor3":"2f2916","textColor4":"6d3a23"},"artistName":"Empress Of","isSingle":false,"url":"https://music.apple.com/us/album/us/1426105502","isComplete":true,"genreNames":["Alternative","Music","Electronic","Pop","Rock"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2018-10-19","name":"Us","recordLabel":"Terrible Records PD","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features118/v4/1b/2a/fc/1b2afc4c-6ef0-f579-1a89-d1a381b3d353/source/{w}x{h}bb.jpeg","bgColor":"ebc482","textColor1":"000101","textColor2":"352213","textColor3":"2f281b","textColor4":"594229"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features128/v4/30/d4/af/30d4afff-204c-d78b-2f20-839c7d6eb044/source/{w}x{h}bb.jpeg","bgColor":"cfcfd7","textColor1":"080402","textColor2":"3a2316","textColor3":"2f2d2d","textColor4":"58453d"}},"copyright":"℗ 2018 Terrible Records","playParams":{"id":"1426105502","kind":"album"},"editorialNotes":{"standard":"Through most of her career, Lorely Rodriguez, the experimental alt-pop auteur known as Empress Of, has relished taking control: singing, songwriting, producing, directing her own videos. Fittingly, she called her eerie 2015 full-length debut Me, and it sounded, as she tells Apple Music, “very confessional. Almost selfish.”
\nFor her second album, Rodriguez took a more inclusive approach, as clear from the title: Us. “I wanted to invite people into my space and learn from them,” she says. Her tourmate Blood Orange sings backup on the album’s pensive opener, “Everything to Me”; Coal MGN (Christine and the Queens, Beck, Anderson .Paak) coproduced tracks; beatmaking duo DJDS, known for their work on Kanye West’s The Life of Pablo, bring an optimistic dance-pop bounce to “Just the Same” and “Love for Me” (a vibe they and Rodriguez previously perfected on their 2017 hit with Khalid, “Why Don’t You Come On”).
\nThat brighter, communal feel was partly inspired by Rodriguez moving back to her native Los Angeles after stints in Brooklyn and Mexico City. “I was in the sunshine, surrounded by friends and family, all of the things that I grew up with,” she says. For Rodriguez, whose parents immigrated from Honduras, that meant a heavy dose of Latino culture, and on Us, she slips back and forth between English and Spanish. “That's how I talk to my friends here, that's how I talk to my mom,” she says. “I was exhausted by only having English to express myself in. It doesn’t have the same transportative, romantic feeling.”
\nIndeed, the Spanish sections on “When I’m With Him” give it an almost uncomfortably intimate pillow-talk feel, in stark contrast to the tight melodies and driving drums that make it Rodriguez’s most accessible song to date. “I accidentally read the YouTube comments on that video, and I had a nervous breakdown for a minute,” she says. “People were like, ‘I miss the old Empress Of. Why is she writing these basic pop songs?’ But this doesn't sound like pop music to me. If you think this is pop music, then I won.”","short":"“If you think this is pop music, then I won.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1011033348","type":"albums","href":"/v1/catalog/us/albums/1011033348?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music1/v4/14/26/79/1426797f-7122-5ef0-36a3-19a98c40a33a/cover.jpg/{w}x{h}bb.jpeg","bgColor":"e9e7e8","textColor1":"060606","textColor2":"302e2e","textColor3":"333333","textColor4":"555353"},"artistName":"Empress Of","isSingle":false,"url":"https://music.apple.com/us/album/me/1011033348","isComplete":true,"genreNames":["Electronic","Music","Rock","Alternative"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2015-09-11","name":"Me","recordLabel":"Terrible Records","editorialArtwork":{"originalFlowcaseBrick":{"width":1778,"height":600,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features60/v4/27/4d/3c/274d3c67-85d1-f34a-f7cb-af4ebbce4a5c/source/{w}x{h}bb.jpeg","bgColor":"f2f2f3","textColor1":"090909","textColor2":"222222","textColor3":"383838","textColor4":"4b4b4b"},"storeFlowcase":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features22/v4/46/a3/a9/46a3a9aa-f741-66f6-271b-329955aed68b/source/{w}x{h}bb.jpeg","bgColor":"f2f2f3","textColor1":"070707","textColor2":"292929","textColor3":"363636","textColor4":"515152"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features3/v4/19/e1/37/19e13704-417f-1487-5281-1d9ed965e226/source/{w}x{h}bb.jpeg","bgColor":"2e6f8d","textColor1":"fee4d4","textColor2":"fec9a7","textColor3":"d5cdc6","textColor4":"d4b7a2"}},"copyright":"℗ 2015 Terrible Records","playParams":{"id":"1011033348","kind":"album"},"editorialNotes":{"standard":"On her debut full-length, Empress Of's Lorely Rodriguez flits between the ecstasy of a love affair and the embrace of solitude: \"Everything is you,\" she admits on the dreamy opener, while on the nervous \"Need Myself,\" she makes self-love her priority. In keeping with that dichotomy, her songwriting pits euphoric dance beats (\"How Do You Do It,\" \"Water Water\") against cryptic melodies (\"Kitty Kat\") and forbidding sound design (\"Threat\"). Set to sumptuous, spiky beats that draw liberally from techno and UK garage, it's the most exhilarating kind of therapy.","short":"Off-kilter rhythms guide Lorely Rodriguez's otherworldly voice. "},"isCompilation":false}},{"id":"1499900362","type":"albums","href":"/v1/catalog/us/albums/1499900362?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/a0/f9/8a/a0f98a88-891f-053d-0570-c3617dc1669e/194491882006.jpg/{w}x{h}bb.jpeg","bgColor":"e2bc8d","textColor1":"020909","textColor2":"2f140e","textColor3":"2f2c23","textColor4":"533627"},"artistName":"Empress Of","isSingle":false,"url":"https://music.apple.com/us/album/im-your-empress-of/1499900362","isComplete":true,"genreNames":["Pop","Music"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2020-04-03","name":"I'm Your Empress Of","recordLabel":"Terrible Records","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features123/v4/ed/bd/14/edbd145a-1d84-8714-4c27-22d67494dadf/source/{w}x{h}bb.jpeg","bgColor":"f4e1c7","textColor1":"010507","textColor2":"0b1315","textColor3":"31312d","textColor4":"3a3c38"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features123/v4/95/f4/93/95f493c1-15ee-c073-0bab-cc3fdf4d718c/source/{w}x{h}bb.jpeg","bgColor":"2b2b29","textColor1":"d8d8cf","textColor2":"c2bdb1","textColor3":"b5b5ae","textColor4":"a4a095"}},"copyright":"℗ 2020 Terrible Records","playParams":{"id":"1499900362","kind":"album"},"editorialNotes":{"standard":"If there’s one word Lorely Rodriguez—aka LA-based singer, songwriter, and producer Empress Of—would use to describe her third album, it’s desperate. “It’s a big word for this record,” Rodriguez tells Apple Music. “These songs are painful and vulnerable and urgent, and the lyrics are definitely not sugar-coated.” Written in only two months—and spanning just over half an hour—I’m Your Empress Of is a raw, frenetic, and at times relentless exploration of heartbreak, navigating everything from wanting someone back (“Give Me Another Chance”) to nighttime loneliness (“Love Is a Drug,” the devastating “Not the One”) and meeting someone new (“Hold Me Like Water”). Amid it all, Rodriguez—who also scatters her Honduran mother Reina’s inspiring words of wisdom across the record—barely allows herself (or us) to pause for breath, with tracks bleeding into the next. “I wanted to feel like it never stops,” she says. “Because my life was like that at the time; it didn’t stop. I ended a relationship just as my second record Us came out, and then went on tour for a year straight. I didn’t really have time to think about how it made me feel. I got two months [off from touring] and woke up at 8 am every day to go to my studio, and wrote and wrote until I felt like stopping. It all just happened.” And yet, despite its desperation, Rodriguez’s third LP is far from downbeat. Whether she’s dancing, crying, or both—I’m Your Empress Of is the cathartic experience Rodriguez needed in order to move on. “People joke about doing ayahuasca trips and that it’s like six years of therapy,” she says. “In some ways, this record did the same thing for me. It was such a release.” Here, Empress Of guides you through that journey, track by track.
\nI’m Your Empress Of\n“My mom has so much to say, and it felt really good to have her on the album. Here, she just freestyled—my mom has bars! At first she was like, ‘I don’t know what to talk about.’ So I told her, ‘Talk about being a woman. Talk about being an immigrant. Talk about being a mother. Talk about being a lover. Talk about all those things that make you who you are.’ And then she just went for it. On this track, she says, ‘I only have one daughter, but it's like I have thousands of daughters, because look at how many times she reproduced herself in each one of you.’ I love that, because I feel that way when I tour and I go onstage. When people come to my shows, they’re there because these songs have done something for them. When an artist [puts their family on their record], it personalizes it. You get a sense of how that artist grew up and their culture—they want to connect you with who they are.”
\nBit of Rain \n“I’m the type of artist who listens to records obsessively, which ends up inspiring me. For this song in particular, I was listening to Ace of Base nonstop. I don’t know if anyone can hear it in this song, and if they can’t, that means I’ve been successful in just being inspired. But Ace of Base have incredible melodies. The chords here are simple because I wrote this song on a plane. Sometimes being limited like that does a lot for your creativity. The song is a pop melody and a love song, a word-for-word account of meeting someone new.”
\nVoid\n“I was listening to a lot of Scott Walker when I wrote this and the final track ‘Awful,’ because he’d died and I didn’t actually know his music. He had very dramatic melodies, like Gershwin. People might never get my references, but sonically I’ve never done something like this. The chords are weird and the song has jazz elements to it. The vocals in this is all me, but it’s just pitched down, which is something I did a lot with this record—messing with the way vocals are treated and playing with Auto-Tune. This was one of the first breakup songs I wrote after my tour. When I wrote it, I was like, ‘Oh my god, this song is so sad.’ And then I made the beat more lively so that it’s melancholic but you can dance to it.”
\nLove Is a Drug\n“‘Intoxicating’ is a good word for this song. In many ways, it’s a true Empress Of song; it’s at 120 BPM and it’s got classic drum sounds from the ’80s. But it’s back to that desperation I was talking about. When you’re sitting at home alone and you’re like, ‘Who can I text?’ This record shows a lot of different sides to me. ‘Bit of Rain’ is about earnestly meeting someone and feeling something. And then this is like, ‘I’m desperate as f**k.’ I really love all the different areas I go to on this record. I don’t only live in heartbreak, or only in love.”
\nU Give It Up\n“There are only two songs on this record that were produced by other people, and this is one of them. It was made with [LA-based producer and artist] Jim-E Stack, who I love. We’ve been working on stuff together since my last record, and we wrote this song in a day. This one is really crying on the dance floor. But it’s also the song where I haven’t forgotten I can write pop melodies. I started out as an experimental acid type of electronic artist and wrote from this weird perspective. Then I started to collaborate with other artists, and I got over my stigma of pop music, and worked with people like Khalid and MØ. This song is just a true breakup song. I wrote the lyric ‘I feel myself destructing’ and wondered if it was too cheesy. I think a lot of this record is saying things and then being like, ‘Oh, can I get away with saying this?’ And then you're like, ‘Yes, I can,’ because the beat is so tight and the feeling is there. The voice convinces you that it's real.”
\nShould’ve\n“This is a song I could have written on my first album, [2015’s] Me. It’s in a weird time signature instead of the 4/4 that most songs are in, and it’s just repeating a phrase over and over again, which I did a lot on my first record. This song really captured how I felt when I first ended my relationship, when one of the first feelings you have is anger and resentment, and then you start to heal and feel everything else. I worked with [North Carolina producer] BJ Burton on this record, mixing it and executive producing it. The record was so desperate, and we worked on how we could mirror that sonically. So we put a lot of distortion on stuff, and I recorded some vocals in a room with a lot of echo. We kept all those bad takes, because they helped with that sound of grit and desperation. So this song has a lot of that. I was really angry when I wrote it, and I love it because you can hear that in the recording from how messy those vocals are.”
\nGive Me Another Chance\n“This is my favorite song of the record, for sure. It’s the song I played for everyone and they were like, ‘Whoa.’ Because it sounds old and new, it’s an Empress Of song that’s evolved. The song is about asking for someone to come back to me. This is a song where I sang some s**t I didn’t want to sing, but it felt really good. The line ‘Choose me over her’ is so f**king desperate. It’s telling someone, ‘I’ll be all the things that you wanted me to be when we were together,’ you know? Just give me another chance. My most desperate hour was writing this song. But I love that I’m talking on it—I’ve never done that and it’s cool that I did it, without it sounding cheesy.”
\nWhat’s the Point\n“The last half of this record is a little less aggressive. This was the last song I wrote for the album, and it’s about when you’re in a relationship and you’re fighting so much and it’s like, ‘Where’s the border? When is this too much?’ It’s like, ‘You’re clenching your fists. You’re calling me a b***h. Where is the edge?’ Even if some of these songs are about things that are really hard to sing about, about real relationships just destroying you, I’m really happy I did write these songs, because music is so healing for me. I’m singing about something that’s really sad, but the song also has such a gorgeous melody and a gorgeous beat.”
\nMaybe This Time\n“I wrote ‘What’s the Point’ and ‘Maybe This Time’ together. Again, the subject matter is hard, but it’s really good that I wrote these songs. Like I said, it’s about wondering when fighting isn’t going to be enough. I wrote this on a plane, and, like on ‘Bit of Rain,’ I was limited musically with what I could do. But production-wise, I feel like the drums sound really exciting. This is definitely my favorite production on the record.”
\nNot the One\n“From ‘Give Me Another Chance,’ you have four songs in a row that are just like, ‘I feel so sh**ty. I feel so alone.’ What I say on this track is big. It's like that thing with ‘Love Is a Drug,’ when you're at home alone and you're like, ‘Who can I text? I don't want to be alone right now.’ And that’s something that I did. I was with someone and I was saying the same things to them that I said to an ex. It was making me feel good, but I knew that we weren't going to be in a relationship. I feel like those desperate moments where you slip up and hook up with someone just because you’re lonely aren’t often written about.”
\nHold Me Like Water\n“In the last 52 minutes of this interview, I’ve gone from talking about listening to Ace of Base to songs about ‘When is this relationship going to destroy me?’! But you know what? That’s the arc of this record. After you go through all this turmoil, you get here. It’s such a breath. And the song has a lot of space, because the instrumentation just builds and builds and builds until you get to the last chorus and get the beat. I wrote this song with my friend [Bleachers live band member and producer] Mikey Freedom Hart, and it’s written with the same feeling of ‘Bit of Rain,’ that falling-in-love moment, those butterflies. It’s about that moment where you’re so in love that you’re over-romanticizing everything. But I think it’s a really beautiful melody and beautiful song. As for the song’s title? It was me really trying to capture sexiness. ‘Hold me like water’ is like holding on to my taste in your mouth. I just wanted to capture a kiss; something that you can’t really hold on to. Something that’s not tangible.”
\nAwful\n\"This song houses my favorite lyric on the album: ‘I need some help, I need help/I need myself, I need myself.’ Which is similar to something I wrote on my first album, on the song ‘Need Myself.’ When I wrote that lyric, I was going through s**t and I just sat in the song. It's a moment where I felt really grateful to have music, because I've found the thing that helps me channel all these feelings. A lot of people don't have that. This album goes through so many things—you’re in love, you’re desperate, you’re having a one-night stand, you’re trying to get back with someone. The most important thing about this album is that it ends on a major chord, which traditionally signifies a happy ending. I just wanted to reference a moment of clarity. And that’s what I hope people feel, among other things. I feel like this is a good album closer.”","short":"“This album was such a release. 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Balancing gentle vocals with warm washes of synths and calmly percolating rhythms, their relaxed sweetly melodic sound barely changed over the course of three albums. By the time of 2020's Truth or Consequences, they had refined their shimmering melancholy into something quietly moving and subtly unique.\r\nFormed by vocalist/guitarist Kim Pflaum and multi-instrumentalists Josh Burgess and Charlie Ryder, Yumi Zouma began crafting their lo-fi electro-pop sound in the early 2010s. After sharing files with the Cascine record label out of Brooklyn, they were invited to join its roster and prepared their first release, the four-track EP I. Issued in early 2014, the record was quickly embraced by the blogosphere, selling through multiple vinyl pressings and leading to a collaboration with Swedish electro-pop duo Air France on a version of their single \"It Feels Good to Be Around You.\" Around this time, original lead singer Kim Pflaum left the group and was replaced by Christie Simpson. 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The ethereal sonics that surrounded her unmistakable soprano on early releases such as 2010's Halfaxa became crisper and more diverse on 2012's widely acclaimed Visions, an album that mixed dream pop, R&B, electronic, and hip-hop influences in seamless and innovative ways. Her music only grew more eclectic from there, with 2015's Art Angels adding touches of country and metal into its freewheeling sound (while collaborations with Janelle Monáe, LOONA yyxy, and Bring Me the Horizon attested to her range). Grimes' songwriting inspiration was just as varied, touching on personal subjects, science fiction, feminism and other societal issues, as on 2020's brooding embodiment of climate change, Miss Anthropocene.\r\nBorn and raised in Vancouver, British Columbia, Canada, Claire Boucher moved to Montreal in 2006 to study neuroscience at McGill University. She began making music as Grimes a year later, using the layered structures of Panda Bear's Person Pitch as an inspiration for her own approach to songwriting. During this time, she and her friends staged shows at an old textile factory that they dubbed Lab Synthèse. The scene that spawned Lab Synthèse also founded Arbutus Records, the label that released Grimes' early work. Two songs released under her own name appeared on a 2009 sampler from the label; her first two albums as Grimes, Geidi Primes (which was inspired by Frank Herbert's series of Dune books) and Halfaxa, were released in 2010. The following year, Grimes left McGill, collaborated on a split EP with d'Eon that was co-released by Arbutus and the like-minded Hippos in Tanks, and appeared on Lykke Li's North American tour. \r\nIn January 2012, Grimes signed with 4AD, and her debut for the label, Visions, arrived later that month. Recorded in a matter of weeks in Grimes' Montreal apartment, its mix of bright pop and dark atmospheres earned instant critical acclaim: the album appeared on many year-end lists and earned a Juno Award for Electronic Album of the Year. Grimes signed to Jay-Z's Roc Nation management company in 2013, and released the single \"Go\" in June 2014.\r\nAs she worked on her fourth album, Grimes collaborated with Bleachers in 2015 on the song \"Entropy\" for the HBO TV series Girls and released another single, \"REALiTi,\" which featured a video directed by Boucher. Art Angels, featuring contributions from Janelle Monáe and Taiwanese rapper Aristophanes, arrived late in 2015 and was praised for its experimental yet catchy songwriting. The album topped Billboard's Alternative Album Chart and reached number two on the Billboard Top Independent Album Chart. \r\nIn 2016, Grimes collaborated with singer/songwriter HANA on The Ac!d Reign Chronicles, a series of self-produced videos for their songs that they filmed while touring Europe. The following January, Grimes lent her vocals and production skills to a track with Aristophanes. That October, she and HANA adopted the name Trashique to release their cover of Tegan and Sara's \"Dark Come Soon.\"\r\nIn 2018, Grimes embarked on several high-profile collaborations. In addition to appearing on Monáe's album Dirty Computer and working with LOONA yyxy, she made cameos on Mindless Self Indulgence frontman Jimmy Urine's solo project Euringer and Poppy's album Am I a Girl? She also contributed the song \"that's what the drugs are for\" to an Apple commercial and wrote the theme song for the Netflix animated series Hilda. In November 2018, Grimes released the industrial-tinged single \"We Appreciate Power,\" a song inspired by the North Korean propaganda girl group Moranbong Band that reunited her with HANA. \r\nEarly in 2019, Grimes appeared on the U.K. metalcore outfit Bring Me the Horizon's album amo. Later that year, she debuted several tracks from her fifth album, including the i_o collaboration \"Violence\" and “4ÆM,\" which was also featured in the video game Cyberpunk 2077 (in which Grimes portrayed Lizzy Wizzy, a singer in the game's world). An ethereal yet hard-hitting concept album that explored climate change and human extinction, Miss Anthropocene appeared in February 2020. Along with topping the Billboard Top Dance/Electronic Albums chart, the album reached number three on the Billboard Independent Albums chart and number 32 on the Billboard 200. ~ Heather Phares","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features41/v4/a0/73/39/a07339eb-e7c7-e37a-2cbf-b8e48510aa72/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"eceef3","textColor2":"c3b0c7","textColor3":"bdbec2","textColor4":"9c8d9f"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features114/v4/69/17/a1/6917a14b-c6a2-2f88-5fc2-0fd793e92c67/source/{w}x{h}bb.jpeg","bgColor":"bfb3e4","textColor1":"180506","textColor2":"2d2b0c","textColor3":"392832","textColor4":"4a4637"},"bannerUber":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features22/v4/eb/1a/9e/eb1a9e80-2621-5d75-1744-de333f21af08/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"eae9f2","textColor2":"cad7e1","textColor3":"bbbbc1","textColor4":"a2acb4"}},"genreNames":["Electronic"]},"relationships":{"albums":{"href":"/v1/catalog/us/artists/2756920/albums?l=en-US","data":[{"id":"1051022913","type":"albums","href":"/v1/catalog/us/albums/1051022913?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music6/v4/da/c0/9f/dac09f19-c801-84ee-2843-801a4a926a3a/cover.jpg/{w}x{h}bb.jpeg","bgColor":"105baa","textColor1":"fefefe","textColor2":"fbd4e6","textColor3":"cedeed","textColor4":"ccbcda"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/art-angels/1051022913","isComplete":true,"genreNames":["Electronic","Music","Rock"],"trackCount":14,"isMasteredForItunes":true,"releaseDate":"2015-11-06","name":"Art Angels","recordLabel":"4AD","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features62/v4/c0/87/8c/c0878c41-79a1-22dd-6b20-292cde850cb9/source/{w}x{h}bb.jpeg","bgColor":"44546e","textColor1":"ffffff","textColor2":"dae6f3","textColor3":"d9dce2","textColor4":"bcc9d8"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features22/v4/de/d3/3d/ded33dcc-3d45-b536-603a-d13dd3f269cc/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"eae9f2","textColor2":"42b4ce","textColor3":"bbbbc1","textColor4":"42b4ce"}},"copyright":"℗ 2015 4AD Ltd","playParams":{"id":"1051022913","kind":"album"},"editorialNotes":{"standard":"Art Angels’ opening trio of songs present a handy summation of Claire Boucher’s singular appeal. The operatic “Laughing and Not Being Normal” opens before making way for “California”. Ostensibly an irresistible country-twanged foot-tapper and easily the catchiest thing she’s recorded, its lyrics unload a bleak commentary on her industry’s treatment of female stars. Next up: the strident “Scream” featuring Taiwanese rapper Aristophanes and plenty of actual howling. Whether discordant and urgent (“Flesh without Blood”, “Kill V. Maim”) or dazzlingly beautiful (“Easily”, “Pin”), Art Angels is a Catherine wheel of ferocious pop invention and Grimes’ grandest achievement.","short":"Irresistible genre-defying genius from the Canadian maverick. \n"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1496908556","type":"albums","href":"/v1/catalog/us/albums/1496908556?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/66/de/09/66de09c6-1423-d333-7d3c-b593560261b5/cover.jpg/{w}x{h}bb.jpeg","bgColor":"0f1219","textColor1":"d5ded4","textColor2":"c2c9c4","textColor3":"adb5ae","textColor4":"9ea5a1"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/miss-anthropocene-deluxe-edition/1496908556","isComplete":true,"genreNames":["Electronic","Music"],"trackCount":15,"isMasteredForItunes":true,"releaseDate":"2020-02-21","name":"Miss Anthropocene (Deluxe Edition)","recordLabel":"4AD","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features124/v4/91/2e/ba/912eba97-8d16-d4c6-8c5c-935eadcbb987/source/{w}x{h}bb.jpeg","bgColor":"111111","textColor1":"ffffff","textColor2":"cac9d0","textColor3":"cfcfcf","textColor4":"a5a4a9"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features123/v4/4f/e2/e9/4fe2e987-f3f1-d6bc-e465-46f991848f14/source/{w}x{h}bb.jpeg","bgColor":"151515","textColor1":"d0cfd2","textColor2":"bcbdcd","textColor3":"abaaac","textColor4":"9a9ca8"}},"copyright":"℗ 2020 4AD Ltd","playParams":{"id":"1496908556","kind":"album"},"editorialNotes":{"standard":"Much of Grimes’ fifth LP is rooted in darkness, a visceral response to the state of the world and the death of her friend and manager Lauren Valencia. “It’s like someone who's very core to the project just disappearing,” she tells Apple Music of the loss. “I've known a lot of people who've died, but cancer just feels so demonic. It’s like someone who wants to live, who's a good person, and their life is just being taken away by this thing that can't be explained. I don't know, it just felt like a literal demon.” Miss Anthropocene deals heavily in theological ideas, each song meant to represent a new god in what Grimes loosely envisioned as “a super contemporary pantheon”—“Violence,” for example, is the god of video games, “My Name Is Dark (Art Mix)” the god of political apathy, and “Delete Forever” the god of suicide. The album’s title is that of the most “urgent” and potentially destructive of gods: climate change. “It’s about modernity and technology through a spiritual lens,” she says of the album, itself an iridescent display of her ability as a producer, vocalist, and genre-defying experimentalist. “I’ve also just been feeling so much pressure. Everyone's like, ‘You gotta be a good role model,’ and I was kind of thinking like, ‘Man, sometimes you just want to actually give in to your worst impulses.’ A lot of the record is just me actually giving in to those negative feelings, which feels irresponsible as a writer sometimes, but it's also just so cathartic.” Here she talks through each of the album's tracks.
\nSo Heavy I Fell Through the Earth (Art Mix)\n“I think I wanted to make a sort of hard Enya song. I had a vision, a weird dream where I was just sort of falling to the earth, like fighting a Balrog. I woke up and said, ‘I need to make a video for this, or I need to make a song for this.’ It's sort of embarrassing, but lyrically, the song is kind of about when you decide to get pregnant or agree to get pregnant. It’s this weird loss of self, or loss of power or something. Because it's sort of like a future life in subservience to this new life. It’s about the intense experience deciding to do that, and it's a bit of an ego death associated with making that decision.”
\nDarkseid\n“I forget how I met [Lil] Uzi [Vert]. He probably DMed me or something, just like, ‘Wanna collaborate and hang out and stuff?’ We ended up playing laser tag and I just did terribly. But instrumentally, going into it I was thinking, ‘How do I make like a super kind of goth banger for Uzi?’ When that didn't really work out, I hit up my friend Aristophanes, or Pan. Just because I think she's f**king great, and I think she's a great lyricist and I just love her vocal style, and she kind of sounds good on everything, and it's especially dark stuff. Like she would make this song super savage and intense. I should let Pan explain it, but her translation of the lyrics is about a friend of hers who committed suicide.”
\nDelete Forever\n“A lot of people very close to me have been super affected by the opioid crisis, or just addiction to opiates and heroin—it's been very present in my life, always. When Lil Peep died, I just got super triggered and just wanted to go make something. It seemed to make sense to keep it super clean sonically and to keep it kind of naked. so it's a pretty simple production for me. Normally I just go way harder. The banjo at the end is comped together and Auto-Tuned, but that is my banjo playing. I really felt like Lil Peep was about to make his great work. It's hard to see anyone die young, but especially from this, ’cause it hit so close to home.”
\nViolence\n“This sounds sort of bad: In a way it feels like you're giving up when you sing on someone else's beats. I literally just want to produce a track. But it was sort of nice—there was just so much less pain in that song than I think there usually is. There's this freedom to singing on something I've never heard before. I just put the song on for the first time, the demo that [producer/DJ] i_o sent me, and just sang over it. I was like, 'Oh!' It was just so freeing—I never ever get to do that. Everyone's like, ‘What's the meaning? What's the vibe?’ And honestly, it was just really f**king fun to make. I know that's not good, that everyone wants deeper meanings and emotions and things, but sometimes just the joy of music is itself a really beautiful thing.”
\n4ÆM\n“I got really obsessed with this Bollywood movie called Bajirao Mastani—it’s about forbidden love. I was like, ‘Man, I feel like the sci-fi version of this movie would just be incredible.’ So I was just sort of making fan art, and I then I really wanted to get kind of crazy and futuristic-sounding. It’s actually the first song I made on the record—I was kind of blocked and not sure of the sonic direction, and then when I made this I was like, ‘Oh, wow, this doesn't sound like anything—this will be a cool thing to pursue.’ It gave me a bunch of ideas of how I could make things sound super future. That was how it started.”
\nNew Gods\n“I really wish I started the record with this song. I just wanted to write the thesis down: It's about how the old gods sucked—well, I don't want to say they sucked, but how the old gods have definitely let people down a bit. If you look at old polytheistic religions, they're sort of pre-technology. I figured it would be a good creative exercise to try to think like, ‘If we were making these gods now, what would they be like?’ So it's sort of about the desire for new gods. And with this one, I was trying to give it a movie soundtrack energy.”
\nMy Name Is Dark (Art Mix)\n“It's sort of written in character, but I was just in a really cranky mood. Like it's just sort of me being a whiny little brat in a lot of ways. But it's about political apathy—it’s so easy to be like, ‘Everything sucks. I don't care.’ But I think that's a very dangerous attitude, a very contagious one. You know, democracy is a gift, and it's a thing not many people have. It's quite a luxury. It seems like such a modern affliction to take that luxury for granted.”
\nYou’ll miss me when I’m not around \n“I got this weird bass that was signed by Derek Jeter in a used music place. I don't know why—I was just trying to practice the bass and trying to play more instruments. This one feels sort of basic for me, but I just really fell in love with the lyrics. It’s more like ‘Delete Forever,’ where it feels like it's almost too simple for Grimes. But it felt really good—I just liked putting it on. Again, you gotta follow the vibe, and it had a good vibe. Ultimately it's sort of about an angel who kills herself and then she wakes up and she still made it to heaven. And she's like, 'What the f**k? I thought I could kill myself and get out of heaven.’ It's sort of about when you're just pissed and everyone's being a jerk to you.”
\nBefore the Fever\n“I wanted this song to represent literal death. Fevers are just kind of scary, but a fever is also sort of poetically imbued with the idea of passion and stuff too. It's like it's a weirdly loaded word—scary but compelling and beautiful. I wanted this song to represent this trajectory where like it starts sort of threatening but calm, and then it slowly gets sort of more pleading and like emotional and desperate as it goes along. The actual experience of death is so scary that it's kind of hard to keep that aloofness or whatever. I wanted it to sort of be like following someone's psychological trajectory if they die. Specifically a kind of villain. I was just thinking of the Joffrey death scene in Game of Thrones. And it's like, he's so s***ty and such a prick, but then, when he dies, like, you feel bad for him. I kind of just wanted to express that feeling in the song.”
\nIDORU\n“The bird sounds are from the Squamish birdwatching society—their website has lots of bird sounds. But I think this song is sort of like a pure love song. And it just feels sort of heavenly—I feel very enveloped in it, it kind of has this medieval/futurist thing going on. It's like if ‘Before the Fever’ is like the climax of the movie, then ‘IDORU’ is the end title. It's such a negative energy to put in the world, but it's good to finish with something hopeful so it’s not just like this mean album that doesn't offer you anything.”
\nWe Appreciate Power (feat. HANA)\n“I'm super interested in AI, and I just think that is going to be such an earthquake. Like true AGI—’cause we have sort of functional AI at the moment—a sentient creature that is not a carbon-based life form that did not evolve but was created. If that can be accomplished, it sort of rewrites humanity, because it makes us gods in a way. It's like creating a new life form, and a life form that could potentially populate the universe in a way that we can’t, with consciousness and intelligence. I feel like there's beautiful poetry to this idea, but it's also a great threat. I just kind of straight-up thought it would be kind of funny to make a song about how I pledge allegiance to the robot overlords or whatever. But like, the second AGI comes into existence, and in particular hits the internet, it's gonna know everything about all of us. And theoretically, have the potential to sort of seize control over everything. So it just sort of seems fun to imagine.”","short":"“It’s about modernity and technology through a spiritual lens.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"499874506","type":"albums","href":"/v1/catalog/us/albums/499874506?l=en-US","attributes":{"artwork":{"width":1654,"height":1483,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music4/v4/8a/74/7f/8a747f78-7363-77fa-acc1-ce18e2489730/dj.lvfpnksu.jpg/{w}x{h}bb.jpeg","bgColor":"010101","textColor1":"faf8f9","textColor2":"c5bfbd","textColor3":"c8c6c7","textColor4":"9e9997"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/visions/499874506","isComplete":true,"genreNames":["Electronic","Music","Rock","Alternative","Indie Rock","Adult Alternative","Dance","Pop","Pop/Rock"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"2012-02-21","name":"Visions","recordLabel":"4AD","editorialArtwork":{},"copyright":"℗ 2012 4AD Ltd under exclusive licence from Arbutus Records","playParams":{"id":"499874506","kind":"album"},"editorialNotes":{"standard":"Recorded over three weeks in a darkened room, the third album from Canadian singer/producer Grimes, a.k.a. Claire Boucher, packs an idiosyncratic punch. At once grating and soothing, melodic and dissonant, Visions manages to sound like a pop record above all else, with contorted melodies that seep into your brain. Boucher tangles up her eerie falsetto with crackling beats and pinging synths, resulting in a gnarled amalgam of textures—electro-pop rendered as splatter art. It's fascinating and wholly original all the way through.","short":"A ghostly gale of experimental electronic pop music."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1496782284","type":"albums","href":"/v1/catalog/us/albums/1496782284?l=en-US","attributes":{"artwork":{"width":4000,"height":4000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/72/b3/e4/72b3e4a5-9ce8-bca9-b09f-64f96f400491/cover.jpg/{w}x{h}bb.jpeg","bgColor":"1a1a1a","textColor1":"f9f9f9","textColor2":"d0cdce","textColor3":"cccccc","textColor4":"aba9aa"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/miss-anthropocene/1496782284","isComplete":true,"genreNames":["Electronic","Music"],"trackCount":10,"isMasteredForItunes":true,"releaseDate":"2020-02-21","name":"Miss Anthropocene","recordLabel":"4AD","editorialArtwork":{"subscriptionHero":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features113/v4/36/1b/37/361b37d1-0b96-8d8f-b65a-6ab89ae17d25/source/{w}x{h}bb.jpeg","bgColor":"c1b3e8","textColor1":"130808","textColor2":"262000","textColor3":"362a34","textColor4":"453d2f"}},"copyright":"℗ 2019 4AD Ltd","playParams":{"id":"1496782284","kind":"album"},"editorialNotes":{"standard":"Much of Grimes’ fifth LP is rooted in darkness, a visceral response to the state of the world and the death of her friend and manager Lauren Valencia. “It’s like someone who's very core to the project just disappearing,” she tells Apple Music of the loss. “I've known a lot of people who've died, but cancer just feels so demonic. It’s like someone who wants to live, who's a good person, and their life is just being taken away by this thing that can't be explained. I don't know, it just felt like a literal demon.” Miss Anthropocene deals heavily in theological ideas, each song meant to represent a new god in what Grimes loosely envisioned as “a super contemporary pantheon”—“Violence,” for example, is the god of video games, “My Name Is Dark (Art Mix)” the god of political apathy, and “Delete Forever” the god of suicide. The album’s title is that of the most “urgent” and potentially destructive of gods: climate change. “It’s about modernity and technology through a spiritual lens,” she says of the album, itself an iridescent display of her ability as a producer, vocalist, and genre-defying experimentalist. “I’ve also just been feeling so much pressure. Everyone's like, ‘You gotta be a good role model,’ and I was kind of thinking like, ‘Man, sometimes you just want to actually give in to your worst impulses.’ A lot of the record is just me actually giving in to those negative feelings, which feels irresponsible as a writer sometimes, but it's also just so cathartic.” Here she talks through each of the album's tracks.
\nSo Heavy I Fell Through the Earth (Art Mix)\n“I think I wanted to make a sort of hard Enya song. I had a vision, a weird dream where I was just sort of falling to the earth, like fighting a Balrog. I woke up and said, ‘I need to make a video for this, or I need to make a song for this.’ It's sort of embarrassing, but lyrically, the song is kind of about when you decide to get pregnant or agree to get pregnant. It’s this weird loss of self, or loss of power or something. Because it's sort of like a future life in subservience to this new life. It’s about the intense experience deciding to do that, and it's a bit of an ego death associated with making that decision.”
\nDarkseid\n“I forget how I met [Lil] Uzi [Vert]. He probably DMed me or something, just like, ‘Wanna collaborate and hang out and stuff?’ We ended up playing laser tag and I just did terribly. But instrumentally, going into it I was thinking, ‘How do I make like a super kind of goth banger for Uzi?’ When that didn't really work out, I hit up my friend Aristophanes, or Pan. Just because I think she's f**king great, and I think she's a great lyricist and I just love her vocal style, and she kind of sounds good on everything, and it's especially dark stuff. Like she would make this song super savage and intense. I should let Pan explain it, but her translation of the lyrics is about a friend of hers who committed suicide.”
\nDelete Forever\n“A lot of people very close to me have been super affected by the opioid crisis, or just addiction to opiates and heroin—it's been very present in my life, always. When Lil Peep died, I just got super triggered and just wanted to go make something. It seemed to make sense to keep it super clean sonically and to keep it kind of naked. so it's a pretty simple production for me. Normally I just go way harder. The banjo at the end is comped together and Auto-Tuned, but that is my banjo playing. I really felt like Lil Peep was about to make his great work. It's hard to see anyone die young, but especially from this, ’cause it hit so close to home.”
\nViolence\n“This sounds sort of bad: In a way it feels like you're giving up when you sing on someone else's beats. I literally just want to produce a track. But it was sort of nice—there was just so much less pain in that song than I think there usually is. There's this freedom to singing on something I've never heard before. I just put the song on for the first time, the demo that [producer/DJ] i_o sent me, and just sang over it. I was like, 'Oh!' It was just so freeing—I never ever get to do that. Everyone's like, ‘What's the meaning? What's the vibe?’ And honestly, it was just really f**king fun to make. I know that's not good, that everyone wants deeper meanings and emotions and things, but sometimes just the joy of music is itself a really beautiful thing.”
\n4ÆM\n“I got really obsessed with this Bollywood movie called Bajirao Mastani—it’s about forbidden love. I was like, ‘Man, I feel like the sci-fi version of this movie would just be incredible.’ So I was just sort of making fan art, and I then I really wanted to get kind of crazy and futuristic-sounding. It’s actually the first song I made on the record—I was kind of blocked and not sure of the sonic direction, and then when I made this I was like, ‘Oh, wow, this doesn't sound like anything—this will be a cool thing to pursue.’ It gave me a bunch of ideas of how I could make things sound super future. That was how it started.”
\nNew Gods\n“I really wish I started the record with this song. I just wanted to write the thesis down: It's about how the old gods sucked—well, I don't want to say they sucked, but how the old gods have definitely let people down a bit. If you look at old polytheistic religions, they're sort of pre-technology. I figured it would be a good creative exercise to try to think like, ‘If we were making these gods now, what would they be like?’ So it's sort of about the desire for new gods. And with this one, I was trying to give it a movie soundtrack energy.”
\nMy Name Is Dark (Art Mix)\n“It's sort of written in character, but I was just in a really cranky mood. Like it's just sort of me being a whiny little brat in a lot of ways. But it's about political apathy—it’s so easy to be like, ‘Everything sucks. I don't care.’ But I think that's a very dangerous attitude, a very contagious one. You know, democracy is a gift, and it's a thing not many people have. It's quite a luxury. It seems like such a modern affliction to take that luxury for granted.”
\nYou’ll miss me when I’m not around \n“I got this weird bass that was signed by Derek Jeter in a used music place. I don't know why—I was just trying to practice the bass and trying to play more instruments. This one feels sort of basic for me, but I just really fell in love with the lyrics. It’s more like ‘Delete Forever,’ where it feels like it's almost too simple for Grimes. But it felt really good—I just liked putting it on. Again, you gotta follow the vibe, and it had a good vibe. Ultimately it's sort of about an angel who kills herself and then she wakes up and she still made it to heaven. And she's like, 'What the f**k? I thought I could kill myself and get out of heaven.’ It's sort of about when you're just pissed and everyone's being a jerk to you.”
\nBefore the Fever\n“I wanted this song to represent literal death. Fevers are just kind of scary, but a fever is also sort of poetically imbued with the idea of passion and stuff too. It's like it's a weirdly loaded word—scary but compelling and beautiful. I wanted this song to represent this trajectory where like it starts sort of threatening but calm, and then it slowly gets sort of more pleading and like emotional and desperate as it goes along. The actual experience of death is so scary that it's kind of hard to keep that aloofness or whatever. I wanted it to sort of be like following someone's psychological trajectory if they die. Specifically a kind of villain. I was just thinking of the Joffrey death scene in Game of Thrones. And it's like, he's so s***ty and such a prick, but then, when he dies, like, you feel bad for him. I kind of just wanted to express that feeling in the song.”
\nIDORU\n“The bird sounds are from the Squamish birdwatching society—their website has lots of bird sounds. But I think this song is sort of like a pure love song. And it just feels sort of heavenly—I feel very enveloped in it, it kind of has this medieval/futurist thing going on. It's like if ‘Before the Fever’ is like the climax of the movie, then ‘IDORU’ is the end title. It's such a negative energy to put in the world, but it's good to finish with something hopeful so it’s not just like this mean album that doesn't offer you anything.”","short":"“It’s about modernity and technology through a spiritual lens.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"617452121","type":"albums","href":"/v1/catalog/us/albums/617452121?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music2/v4/7a/c8/f5/7ac8f517-8f4e-c3c5-00af-2b400a5353c3/cover.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"000404","textColor2":"350000","textColor3":"333636","textColor4":"5d3333"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/geidi-primes/617452121","isComplete":true,"genreNames":["Electronic","Music","Alternative","Rock"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2010-01-10","name":"Geidi Primes","recordLabel":"Arbutus Records","editorialArtwork":{},"copyright":"℗ 2010 Arbutus Records","playParams":{"id":"617452121","kind":"album"},"isCompilation":false}},{"id":"1071863338","type":"albums","href":"/v1/catalog/us/albums/1071863338?l=en-US","attributes":{"artwork":{"width":1475,"height":1475,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music49/v4/a2/16/4c/a2164c2b-bf0c-626c-ecfa-c09790cecff7/656605342061.jpg/{w}x{h}bb.jpeg","bgColor":"000002","textColor1":"fefefe","textColor2":"00c4ea","textColor3":"cbcbcb","textColor4":"009dbc"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/halfaxa/1071863338","isComplete":true,"genreNames":["Electronic","Music","Rock","Alternative"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"2010-10-05","name":"Halfaxa","recordLabel":"Arbutus Records","editorialArtwork":{},"copyright":"℗ 2010 Arbutus Records","playParams":{"id":"1071863338","kind":"album"},"isCompilation":false}},{"id":"622400862","type":"albums","href":"/v1/catalog/us/albums/622400862?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music2/v4/b8/1d/74/b81d74ab-7bd2-38e0-1e0a-3d45ffe91c3e/cover.jpg/{w}x{h}bb.jpeg","bgColor":"060807","textColor1":"fffdf6","textColor2":"fddde2","textColor3":"cdcbc6","textColor4":"ccb2b6"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/darkbloom-ep/622400862","isComplete":true,"genreNames":["Electronic","Music","Dance","Rock"],"trackCount":5,"isMasteredForItunes":false,"releaseDate":"2011-04-18","name":"Darkbloom - EP","recordLabel":"Arbutus Records","editorialArtwork":{},"copyright":"℗ 2011 Arbutus Records","playParams":{"id":"622400862","kind":"album"},"isCompilation":false}},{"id":"1022385409","type":"albums","href":"/v1/catalog/us/albums/1022385409?l=en-US","attributes":{"artwork":{"width":1561,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music7/v4/82/7a/84/827a84df-9988-fde3-575d-9c2b1e742160/cover.jpg/{w}x{h}bb.jpeg","bgColor":"f1f1f1","textColor1":"000000","textColor2":"141212","textColor3":"303030","textColor4":"403f3e"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/visions/1022385409","isComplete":false,"genreNames":["Electronic","Music"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2012-02-21","name":"Visions","recordLabel":"4AD","editorialArtwork":{},"copyright":"℗ 2012 4AD Ltd under exclusive licence from Arbutus Records","playParams":{"id":"1022385409","kind":"album"},"isCompilation":false}},{"id":"1449020638","type":"albums","href":"/v1/catalog/us/albums/1449020638?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music114/v4/ff/6c/a7/ff6ca762-07b0-e64c-2109-7b936fdca824/cover.jpg/{w}x{h}bb.jpeg","bgColor":"130f10","textColor1":"cdd2e8","textColor2":"f06dc3","textColor3":"a8abbd","textColor4":"c35a9f"},"artistName":"Grimes","isSingle":false,"url":"https://music.apple.com/us/album/we-appreciate-power-feat-hana-single/1449020638","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Electronic","Singer/Songwriter","Indie Pop","Rock"],"trackCount":2,"isMasteredForItunes":false,"releaseDate":"2019-01-18","name":"We Appreciate Power (feat. 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She pairs her deceptively fragile, multi-octave voice -- the product of years of classical training -- with heavy beats that borrow from experimental electronic music, industrial, and the futuristic side of R&B and melodies that feel descended from the songbooks of Kate Bush and Janet Jackson. However, FKA twigs' music is greater than the sum of its parts, and much of the acclaim that accompanied early releases like 2013's EP2 and the following year's Mercury Prize-nominated full-length LP1 celebrated her music's simultaneous strength and delicacy. Barnett's work grew more ambitious and moving with time, and 2019's deeply felt second album, Magdalene, confirmed she was one of the most accomplished artists to emerge in the 2010s.\r\nA half-Jamaican native of Gloucestershire, England, Barnett grew up surrounded by farmland and was encouraged to study ballet and opera by her mother, a Spanish-English salsa dancer. Given the nickname Twigs because of how loudly she can crack her bones, she started singing with a jazz band at age 13. She earned a scholarship to a private all-girls Catholic secondary school; as the only mixed-race student, she frequently felt isolated. By the time she was 16, Barnett began writing songs in earnest, taking inspiration from classic jazz and soul singers like Billie Holiday, Ella Fitzgerald, and Marvin Gaye as well as the post-punk and new wave of Siouxsie and the Banshees and Adam Ant. \r\nWhen she was 17, Barnett moved to London to pursue a career as a dancer. As she appeared in videos for songs by Jessie J, Ed Sheeran, Kylie Minogue, and Taio Cruz, among others, she soon realized she really wanted to be a professional musician. Along with her friends CY AN and LJ Howe, she formed Delirium Tremens, a punk band in the vein of X-Ray Spex (whose Germ Free Adolescents is one of Barnett's favorite albums). Along with working as a bartender, Barnett hired a manager who helped her connect with producers including Mike Chapman, who helped her refine her songwriting. In 2012, Twigs self-released EP1, which included videos for each track that she directed. \r\nAfter changing her moniker to FKA twigs at the request of another artist named Twigs, she returned with EP2, a striking set of songs featuring production from Kanye West collaborator Arca. Later that year, FKA twigs was nominated for the BBC's Sound of 2014 prize (which Sam Smith ultimately won). EP2 was released in the U.S. in May 2014. A few months later, the more lavish-sounding single \"Two Weeks\" announced the arrival of FKA twigs' simply named debut album, LP1. Alongside collaborations with Arca, Dev Hynes, Sampha, and Paul Epworth, the album also featured more production work by Barnett herself. LP1 was released in August 2014 to widespread critical acclaim, including a Mercury Prize nomination. \r\nBarnett followed LP1 with projects that incorporated her background in filmmaking and choreography. In October 2014, she released the short film #throughglass, a promotional piece for Google Glass that she directed and which featured versions of her songs \"Video Girl\" and \"Glass & Patron.\" In February 2015, she debuted Congregata, an interpretive dance performance inspired by and set to songs from LP1. That July, she held a week-long residency at Manchester International Festival called Soundtrack 7, during which she premiered the song \"Good to Love.\" In August, FKA twigs returned with the M3LL155X (\"Melissa\") EP, which featured collaborations with producer Boots, as well as the full-length version of \"Glass & Patron.\" Barnett released \"Good to Love\" in February 2016 as a single and music video. In July of that year, her performance at the Lastochka Festival in Moscow featured three more new songs. \r\nShe appeared on A$AP Rocky's 2018 album Testing before releasing the single \"Cellophane\" in April 2019. That November, Barnett's second album, Magdalene, arrived. Informed by her 2017 surgery for painful uterine fibroids, her breakups, and the duality of Mary Magdalene, its deceptively fragile songs were largely produced by Barnett with contributions from Nicolas Jaar, Skrillex, Jack Antonoff, Oneohtrix Point Never, and Benny Blanco. In 2020, \"Cellophane\" earned a Best Music Video Grammy Award nomination. ~ Heather Phares","bornOrFormed":"January 16, 1988","editorialArtwork":{"originalFlowcaseBrick":{"width":1778,"height":600,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features4/v4/02/f5/2b/02f52b74-fe26-f49e-1676-512751fd5482/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"ead2bc","textColor2":"d5b396","textColor3":"bba896","textColor4":"aa8f78"},"storeFlowcase":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features49/v4/94/be/f1/94bef177-4dbc-8a5a-3f33-39afce74b8c9/source/{w}x{h}bb.jpeg","bgColor":"d5d6d8","textColor1":"010203","textColor2":"16191e","textColor3":"2c2c2d","textColor4":"3c3f43"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features123/v4/62/ce/2a/62ce2ac2-454d-d0e5-d70d-ba0e981520d4/source/{w}x{h}bb.jpeg","bgColor":"6b0a20","textColor1":"fbf6fb","textColor2":"dffbfc","textColor3":"dec7cf","textColor4":"c8cbd0"},"bannerUber":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features7/v4/22/49/6c/22496c52-b4c4-ee56-aaea-6a5fa3b4eb43/source/{w}x{h}bb.jpeg","bgColor":"d5d6d8","textColor1":"0d0a0a","textColor2":"ed0e48","textColor3":"353333","textColor4":"5b504f"}},"genreNames":["Electronic"]},"relationships":{"albums":{"href":"/v1/catalog/us/artists/679661890/albums?l=en-US","data":[{"id":"1477652618","type":"albums","href":"/v1/catalog/us/albums/1477652618?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/0b/b0/64/0bb0648d-bbef-ae59-4f56-d7b212d5bf40/cover.jpg/{w}x{h}bb.jpeg","bgColor":"c0a58a","textColor1":"040204","textColor2":"421809","textColor3":"2a231f","textColor4":"5b3423"},"artistName":"FKA twigs","isSingle":false,"url":"https://music.apple.com/us/album/magdalene/1477652618","isComplete":true,"genreNames":["Electronic","Music"],"trackCount":9,"isMasteredForItunes":false,"releaseDate":"2019-11-08","name":"MAGDALENE","recordLabel":"Young Turks Recordings","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features123/v4/a5/9d/c2/a59dc276-1fad-6c69-77c6-36c857560ea1/source/{w}x{h}bb.jpeg","bgColor":"65513d","textColor1":"f6ee4f","textColor2":"f19f71","textColor3":"d9cf4b","textColor4":"d58f66"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features113/v4/90/16/c3/9016c3f6-d9ac-8c76-bfb1-4189ad638d37/source/{w}x{h}bb.jpeg","bgColor":"66352c","textColor1":"dee0e3","textColor2":"f1ba96","textColor3":"c6bdbe","textColor4":"d59f81"}},"copyright":"℗ 2019 Young Turks Recordings Ltd.","playParams":{"id":"1477652618","kind":"album"},"editorialNotes":{"standard":"Look past its futurist textures and careful obfuscations, and there’s something deeply human about FKA twigs’ 21st-century R&B. On her second full-length, the 31-year-old British singer-songwriter connects our current climate to that of Mary Magdalene, a healer whose close personal relationship with Christ brought her scorn from those who would ultimately write her story: men. “I'm of a generation that was brought up without options in love,” she tells Apple Music. “I was told that as a woman, I should be looked after. It's not whether I choose somebody, but whether somebody chooses me.” Written and produced by twigs, with major contributions from Nicolas Jaar, MAGDALENE is a feminist meditation on the ways in which we relate to one another and ourselves—emotionally, sexually, universally—set to sounds that are at once modern and ancient. “Now it’s like, ‘Can you stand up in my holy terrain?’” she says, referencing the titular lyric from her mid-album collaboration with Future. “‘How are we going to be equals in this? Spiritually, am I growing? Do you make me want to be a better person?’ I’m definitely still figuring it out.” Here, she walks us through the album track by track.
\nthousand eyes\n“All the songs I write are autobiographical. Anyone that's been in a relationship for a long time, you're meshed together. But unmeshing is painful, because you have the same friends or your families know each other. No matter who you are, the idea of leaving is not only a heart trauma, but it's also a social trauma, because all of a sudden, you don't all go to that pub that you went to together. The line ['If I walk out the door/A thousand eyes'] is a reference to that. At the time, I was listening to a lot of Gregorian music. I’d started really getting into medieval chords before that, and I'd found some musicians that play medieval music and done a couple sessions with them. Even on [2014's] LP1, I had ‘Closer,’ which is essentially a hymn. I spent a lot of time in choir as a child and I went to Sunday school, so it’s part of who I am at this stage.”
\nhome with you\n“I find things like that interesting in the studio, just to play around and bring together two completely different genres—like Elton John chords and a hip-hop riff. That’s what ‘home with you’ was for me: It’s a ballad and it's sad, but then it's a bop as well, even though it doesn't quite ever give you what you need. It’s about feeling pulled in all directions: as a daughter, or as a friend, or as a girlfriend, or as a lover. Everyone wanting a piece of you, but not expressing it properly, so you feel like you're not meeting the mark.”
\nsad day\n“It’s like, ‘Will you take another chance with me? Can we escape the mundane? Can we escape the cyclical motion of life and be in love together and try something that's dangerous and exhilarating? Yeah, I know I’ve made you sad before, but will you give me another chance?' I wrote this song with benny blanco and Koreless. I love to set myself challenges, and it was really exciting to me, the challenge of retaining my sound while working with a really broad group of people. I was lucky working with Benny, in the fact that he creates an environment where, as an artist, you feel really comfortable to be yourself. To me, that's almost the old-school definition of a producer: They don't have to be all up in your grill, telling you what to do. They just need to lay a really beautiful, fertile soil, so that you can grow to be the best you in the moment.”
\nholy terrain\n“I’m saying that I want to find a man that can stand up next to me, in all of my brilliance, and not feel intimidated. To me, Future’s saying, ‘Hey, I f**ked up. I filled you with poison. I’ve done things to make you jealous. Can you heal me? Can you tell me how to be a better man? I need the guidance, of a woman, to show me how to do that.’ I don't think that there are many rappers that can go there, and just put their cards on the table like that. I didn't know 100%, once I met Future, that it would be right. But we spoke on the phone and I played him the album and I told him what it was about: ‘It’s a very female-positive, femme-positive record.’ And he was just like, ‘Yeah. Say no more. I've got this.’ And he did. He crushed it. To have somebody who's got patriarchal energy come through and say that, wanting to stand up and be there for a woman, wanting to have a woman that's an equal—that's real.”
\nmary magdalene\n“Let’s just imagine for one second: Say Jesus and Mary Magdalene are really close, they're together all the time. She's his right-hand woman, she’s his confidante, she's healing people with him and a mystic in her own right. So, at that point, any man and woman that are spending that much time together, they're likely to be what? Lovers. Okay, cool. So, if Mary had Jesus' children, that basically debunks the whole of history. Now, I'm not saying that happened. What I'm saying is that the idea of people thinking that might happen is potentially really dangerous. It’s easier to call her a whore, because as soon as you call a woman a whore, it devalues her. I see her as Jesus Christ's equal. She’s a male projection and, I think, the beginning of the patriarchy taking control of the narrative of women. Any woman that's done anything can be subject to that; I’ve been subject to that. It felt like an apt time to be talking about it.”
\nfallen alien\n“When you're with someone, and they're sleeping, and you look at them, and you just think, 'No.' For me, it’s that line, ['When the lights are on, I know you/When you fall asleep, I’ll kick you down/By the way you fell, I know you/Now you’re on your knees']. You're just so sick of somebody's bulls**t, you're just taking it all day, and then you're in bed next to them, and you're just like, ‘I can't take this anymore.’”
\nmirrored heart\n“People always say, ‘Whoever you're with, they should be a reflection of yourself.’ So, if you're looking at someone and you think, ‘You're a s**tbag,’ then you have to think about why it was that person, at that time, and what's connecting you both. What is the reflection? For others that have found a love that is a true reflection of themselves, they just remind me that I don't have that, a mirrored heart.”
\ndaybed\n“Have you ever forgotten how to spell a really simple word? To me, depression's a bit like that: Everything's quite abstract, and even slightly dizzy, but not in a happy way. It's like a very slow circus. Suddenly the fruit flies seem friendly, everything in the room just starts having a different meaning and you even have a different relationship with the way the sofa cushions smell. [Masturbation] is something to raise your endorphins, isn't it? It’s either that or try and go to the gym, or try and eat something good. You almost can't put it into words, but we've all been there. I sing, 'Active are my fingers/Faux, my cunnilingus': You're imagining someone going down on you, but they're actually not. You open your eyes, and you're just there, still on your sofa, still watching daytime TV.”
\ncellophane\n“It's just raw, isn't it? It didn't need a thing. The vocal take that's on the record is the demo take. I had a Lyft arrive outside the studio and I’d just started playing the piano chords. I was like, ‘Hey, can you just give me like 20, 25 minutes?’ And I recorded it as is. I remember feeling like I wanted to cry, but I just didn't feel like it was that suitable to cry at a studio session. I often want everything to be really intricate and gilded, and I want to chip away at everything, and sculpt it, and mold it, and add layers. The thing I've learned on MAGDALENE is that you don't need to do that all the time, and just because you can do something, it doesn't mean you should. That's been a real growing experience for me—as a musician, as a producer, as a singer, even as a dancer. Something in its most simple form is beautiful.”","short":"“Something in its most simple form is beautiful.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"911606990","type":"albums","href":"/v1/catalog/us/albums/911606990?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music3/v4/e3/7a/f6/e37af6dc-10fb-e524-e272-e39b1ec8ef62/cover.jpg/{w}x{h}bb.jpeg","bgColor":"52b9d8","textColor1":"00050e","textColor2":"350104","textColor3":"102936","textColor4":"3b262e"},"artistName":"FKA twigs","isSingle":false,"url":"https://music.apple.com/us/album/lp1/911606990","isComplete":true,"genreNames":["Electronic","Music","R&B/Soul","Dance","Rock"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2014-08-06","name":"LP1","recordLabel":"Young Turks Recordings Ltd","editorialArtwork":{"originalFlowcaseBrick":{"width":1778,"height":600,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features5/v4/a2/ab/ee/a2abeea4-6e66-a43e-5492-fb23c01ee939/source/{w}x{h}bb.jpeg","bgColor":"6e9ac1","textColor1":"03040a","textColor2":"1f1c1f","textColor3":"18222f","textColor4":"2e363f"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features7/v4/32/bc/1e/32bc1ef8-ad7a-1f0d-b0e7-cf2d3fb5de14/source/{w}x{h}bb.jpeg","bgColor":"d5d6d8","textColor1":"0d0a0a","textColor2":"3c2f2d","textColor3":"353333","textColor4":"5b504f"},"bannerUber":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features7/v4/62/81/e8/6281e86e-73d9-8338-82fb-4687cd529901/source/{w}x{h}bb.jpeg","bgColor":"d5d6d8","textColor1":"0d0a0a","textColor2":"3c2f2d","textColor3":"353333","textColor4":"5b504f"}},"copyright":"℗ 2014 Young Turks Recordings Ltd","playParams":{"id":"911606990","kind":"album"},"editorialNotes":{"name":"FKA Twigs","standard":"The songs on this remarkable debut whisk between fuzzed-out R&B and ethereal pop.","short":"The songs on this remarkable debut whisk between fuzzed-out R&B and ethereal pop."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1028920695","type":"albums","href":"/v1/catalog/us/albums/1028920695?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music5/v4/01/b3/e1/01b3e1ab-89d7-62bc-6efb-1eb351b9ebe1/cover.jpg/{w}x{h}bb.jpeg","bgColor":"1b191e","textColor1":"f0d9c7","textColor2":"dcbda2","textColor3":"c5b2a5","textColor4":"b69c88"},"artistName":"FKA twigs","isSingle":false,"url":"https://music.apple.com/us/album/m3ll155x-ep/1028920695","isComplete":true,"genreNames":["Electronic","Music","Rock","Adult Alternative"],"trackCount":5,"isMasteredForItunes":false,"releaseDate":"2015-08-14","name":"M3LL155X - EP","recordLabel":"Young Turks Recordings Ltd","editorialArtwork":{"originalFlowcaseBrick":{"width":1778,"height":600,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features69/v4/c4/f0/bd/c4f0bd66-0310-6488-7f66-27b4d2e1d99d/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"ead2bc","textColor2":"d5b396","textColor3":"bba896","textColor4":"aa8f78"},"storeFlowcase":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features7/v4/31/3f/a3/313fa3e3-1c94-d43f-4dbc-3c6e148d0cae/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"dcbd9f","textColor2":"cea78b","textColor3":"b0977f","textColor4":"a5856f"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features30/v4/58/19/01/581901e9-21a9-1d33-3f23-358a2d1a4a64/source/{w}x{h}bb.jpeg","bgColor":"d5d6d8","textColor1":"020303","textColor2":"cf0c18","textColor3":"2c2d2d","textColor4":"cf0c18"}},"copyright":"℗ 2015 Young Turks Recordings Ltd","playParams":{"id":"1028920695","kind":"album"},"editorialNotes":{"short":"Moody, magnetic, mind-bending R&B from another galaxy. "},"isCompilation":false}},{"id":"763736377","type":"albums","href":"/v1/catalog/us/albums/763736377?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music/v4/67/4c/35/674c3505-f796-8ba9-651f-6aeddfb704a8/cover.jpg/{w}x{h}bb.jpeg","bgColor":"fdfdfd","textColor1":"311621","textColor2":"291d2b","textColor3":"59444d","textColor4":"534a55"},"artistName":"FKA twigs","isSingle":false,"url":"https://music.apple.com/us/album/ep2/763736377","isComplete":true,"genreNames":["Electronic","Music","Rock","Adult Alternative","R&B/Soul"],"trackCount":4,"isMasteredForItunes":false,"releaseDate":"2013-09-17","name":"EP2","recordLabel":"Young Turks","editorialArtwork":{},"copyright":"℗ 2013 Young Turks","playParams":{"id":"763736377","kind":"album"},"editorialNotes":{"standard":"FKA Twigs is a wisp of a young British woman with very big musical ideas. On her first EP, EP1, Twigs’ vision of experimental R&B-electronica emerged. She made clear that she'd be working outside the lines of the budding genre, with her music taking elusive shapes and paths in lieu of easy melodies or dance rhythms. Her videos are as provocative as her music and lyrics; the latter are sometimes blurred in murky edits or effects, lending the British singer an air of dark and mysterious seductress or willing victim. On EP2, she sharpens her already pointed nails and rations her faint breaths and vocal utterances as if each is her penultimate offering, with woozy pitch-shifting and spaces so open and charged they're suffocating in their weight. Beguiling loops of shimmering percussion, odd injections of witchy chill, disembodied whispers, and mechanical clicks and whirs fill the four tracks here. Yet each song is undeniably sensual, distinctly memorable and unique. 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She met fellow Hamilton, Ontario native Jeremy Greenspan when she was suggested as a background vocalist for his Junior Boys recordings. Lanza contributed to the 2011 album It's All True and had the favor returned with synthesizer lessons. Lanza and Greenspan developed a creative partnership that evolved into Pull My Hair Back, Lanza's debut album. Co-produced with Greenspan on gear left by Lanza's deceased father, the set was issued on the Hyperdub label in September 2013. 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The vocalist and songwriter, born Kelela Mizanekristos in Washington, D.C., was raised in suburban Maryland and didn't have aspirations as a singer until she started studying jazz. Subsequent obsessions with Amel Larrieux and Little Dragon helped push her toward finding her own style -- one she found after she moved to Los Angeles in 2010. She connected with Teengirl Fantasy and contributed to the duo's Tracer album on the song \"EFX.\" This led to meeting the Fade to Mind label's Prince William, who exposed her to his associates' lean yet sharp and deep productions. Knocked out by what she heard, she soon debuted on Kingdom's August 2013 single \"Bank Head.\" A couple months later, guided by the intent to put together a mixtape that sounded like a remix collection, she released the free download Cut 4 Me with contributions from Kingdom and peers Bok Bok, Girl Unit, Jam City, and Nguzunguzu. 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Their debut album, 2012's Tender Opposites, was met with critical praise for its blend of outsider perspectives and classic songcraft. After a series of releases for the Arbutus label, they released their fourth studio album, 2020's I Feel Alive, on their own Musique TOPS label.\r\nTOPS formed in 2011 out of the disbandment of Silly Kissers, a group that also included like-minded indie crooner Sean Nicholas Savage. Vocalist/songwriter Jane Penny and guitarist/songwriter David Carriere were soon joined by drummer Riley Fleck and bassist Tom Gillies. TOPS were associated with the same scene that spawned acts like Doldrums, Grimes, and Mac DeMarco, and they recorded their 2012 debut LP, Tender Opposites, for Arbutus Records, the label central to that scene. Gillies was replaced by bassist Madeline Glowicki before the recording of the band's second album, 2014's Picture You Staring. \r\nFor a deliberate change of environment, TOPS recorded their third LP at a house in Glendale, California. The resulting Sugar at the Gate arrived on Arbutus in 2017 with Jackson MacIntosh (Sheer Agony) taking over on bass. The group added fifth member Marta Cikojevic on keyboards in time for a tour of Europe. The quintet eventually headed back to the studio and emerged with I Feel Alive in 2020. Produced by Penny and Carriere, it was released on their newly formed label Musique TOPS, in partnership with independent distributor House Arrest. ~ Fred Thomas & Marcy Donelson","editorialArtwork":{},"genreNames":["Alternative"]},"relationships":{"albums":{"href":"/v1/catalog/us/artists/875389571/albums?l=en-US","data":[{"id":"1491101333","type":"albums","href":"/v1/catalog/us/albums/1491101333?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/16/b1/a5/16b1a516-a395-a291-30ef-22ea21d6e745/194491627768.jpg/{w}x{h}bb.jpeg","bgColor":"c8bfae","textColor1":"0d0803","textColor2":"140e0a","textColor3":"322d25","textColor4":"38312b"},"artistName":"TOPS","isSingle":false,"url":"https://music.apple.com/us/album/i-feel-alive/1491101333","isComplete":true,"genreNames":["Indie Rock","Music","Alternative"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2020-04-03","name":"I Feel Alive","recordLabel":"TOPS Musique","editorialArtwork":{},"copyright":"℗ 2020 Musique TOPS, distributed by House Arrest","playParams":{"id":"1491101333","kind":"album"},"editorialNotes":{"standard":"Moving to LA and holing up in a house for a year wasn’t the usual recipe for making a TOPS record. “We really labored over it a lot,” singer and multi-instrumentalist Jane Penny tells Apple Music of 2017’s melancholic Sugar at the Gate. But things changed quite a bit for I Feel Alive, the indie-pop band's fourth LP. Back in their hometown of Montreal, with keyboardist Marta Cikojevic added to the lineup, and with their California-based drummer Riley Fleck traveling in to record, “we really had to be very focused and do a lot in a short period of time,” says Penny. “It kept everything feeling a little more vital throughout the whole process, because there was just enough pressure to make things happen quickly—or to not overthink it.” The other big change was that between albums, the group's principal songwriters, Penny and guitarist David Carriere, ended their relationship, which they’d been in since their early twenties. But that doesn’t mean I Feel Alive is a breakup record. “It's more that after a certain amount of time has passed from something like that, you actually have time to reflect on those situations and your feelings,” says Penny. The explorations of post-breakup emotions, womanhood, intimacy, and the thrill of new relationships that make up I Feel Alive are nicely complemented by the silky, ’70s AM Gold sound that TOPS has been honing over the last decade. Here Penny goes deeper into the album’s themes as she deconstructs each of its songs.
\nDirect Sunlight\n\"I originally wrote it about somebody that's cheating on someone else, but then I thought it was too negative. There's a certain sourness in some types of songs that, when you write them, especially when you change the way you feel in a lot of situations, it makes you want to change the sentiment of the song. But this idea of 'You play shadow games/I play with the light,’ it's that people can be kind of dark, or that there's some kind of darkness—and playing music is a way of recuperating all of the negativity in your life. I think that's why, like at the bridge, it goes into this flute solo. To me, playing flute has always been the thing that brought me the most joy.\"
\nI Feel Alive\n\"'I Feel Alive' is really about being in love, but it's also about feeling alienated after falling in love with somebody that maybe doesn't make sense in terms of what your current social circle expects from you, or what people think you should be doing. I wrote it about being really in love with my partner, but then it was also after coming back to Montreal. It's a city with a pretty tight-knit community, and I feel like that can be a really big positive, and it can also be a fishbowl that you want to escape. But definitely, the idea of 'I Feel Alive'—it's supposed to be about when emotion overtakes you.\"
\nPirouette\n\"David wrote this. He has a lot of really pop songwriting sensibilities, and he’s very hook-oriented. He’s the one of us that comes up with 'Silhouette, pirouette...I'm going to make a song out of these cool-sounding words.' The idea is it’s a stranger speaking to you. To me, it brought me back to being thrown into social situations and feeling alienated by them. It's just such an uncomfortable time in one's life, when you're still not over the person that you were with, but you still need something new, and you're seeking out anything. It has a little bit of attitude, like, ‘Bitch, please'—I never say stuff like that. 'The enemy at war' is the whole idea that you felt trapped in this situation before, and now you're trying to find freedom, but freedom comes with a certain amount of alienation and strangeness.\"
\nBallads & Sad Movies\n“When David showed this to me, it had an Elton John-y quality to it, a schmaltzy power-ballad kind of thing that I really love. We spent a long time getting the voicing of the chords right, and making it as sparse as possible. I feel like the meaning of that song—it's really all out there. There's nothing hidden. But I think that what it does say is really beautiful—that you feel bad because the relationship's over, but then you're also really glad to have met that person. I feel like the emotional nugget of that song is ‘If I didn't know you back then, I'd be different, but I don't know you now, and I don't know when I will again.’\"
\nColder & Closer\n\"David had the 'colder and closer' hook, which I loved and was like, ‘This is such a sick idea for a song.’ It just had the idea of intimacy or closeness, emotional prescience, as being a cold, brittle thing—that gave me a lot to think about. All the stanzas are about different things. That's something I often like to do is to expand on a certain core meaning, but still have a multiplicity of different things that are expressed within one song. Then it coalesces in this idea that regardless of how you try to fill a void, or how you try to understand your behavior, everything that you do, 'all the lovers that you left behind,' everyone that you ever touch—they live with you and you live with them as these different ghosts. It's rethinking intimacy and alienation as being two sides of the same coin.\"
\nWitching Hour\n\"The witching hour—it's a time of day, but to me, I took it as more of a reckoning, and it made me meditate a lot on my experience of womanhood and my career. When we started making music, I came up against so many assumptions that it was either impossible for women to be taken seriously in music, or that it was impossible for women to have any kind of longevity in their career, and basically being in so many situations when the only women around me that I ever even interacted with were girlfriends or on the sidelines of things. I feel like it's changed a lot. I was reflecting on this time, and how certain experiences of being sexualized, or feeling like you should be sexualized, can be so insidious and dig into your unconscious. I got into this idea of actual dreams, writing words in a way that they would feel the way that nightmares twist the meaning of each word into another thing. 'String along/Pearls around her neck/Serpent they've become/Choking every breath.' It's trying to conjure this magical nightmarish thing that happens in our psyches. The line about 'I bite my tongue' is also how I feel like I have often silenced myself, or I felt this pressure to not be overly righteous as you navigate certain worlds. Also, 'Boy's pride/Vanishing under the spotlight/Many sides, surface and ignite’—that was a reference to seeing and being surrounded by all these men whose power had been so unquestioned in music, and all these musicians and stuff that were now running scared in the midst of the conversations that were happening. Often not even necessarily guilty of anything, but just feeling actually like they have to defend themselves, or like they were questioning themselves for the very first time, and being like, ‘Oh my god.’\"
\nTake Down\n\"It's about the idea of not when you've broken up with somebody, but when you realize that you're in a better place—that you get a certain kind of clarity, and the whole situation that led to things falling apart comes into focus. You realize that it could've been very obvious that it was happening at the time, but you were too emotionally invested. The record wasn't made in the midst of a breakup, but I think there are a lot of reflections on that that maybe neither of us were capable of having right in the moment, and needed some time to come out. Also, I think songs like 'Colder & Closer' and ‘Pirouette' are definitely about the experience of when you get out of a really intense relationship, and you're entering into this world of casual intimacy, and searching more for somebody—that ‘after’ period.\"
\nDrowning in Paradise\n\"I feel like we wrote that song basically for fun. We wrote this beginning intro part—there's this weird time signature—and it was this classic thing of where you get a bunch of musicians together and then you get stuck on this ‘What if it was alternating bars of four and seven, or four and five?’ Then when we were doing the production, it was one of the last songs to have any words at all, and it got to the point where it just didn't, but I loved the energy of the way it sounded, so we just threw some words together. I love French spoken word. My French is not very good, but it just seemed like a fun thing to do. The French part is a little bit more angsty. It's about not leaving the couch and you only get up to wash occasionally. But it's the idea of being so in love with somebody that you're just taken over and drowning in paradise.\"
\nOK Fine Whatever\n“‘In the right dress, head tilted looking back.' I wanted to describe celebrity photos of someone, or a wedding photograph or something—women all dolled up. ‘Hand is on your shoulder’—it's about having a man in your life, or being in a situation of needing somebody. It’s kind of like an imaginary story in my head, this idea of displaying perfection or status or material things, but it kind of doesn't matter so much. It’s about a certain type of female-male relationship that I've never had—I don't think David's had either—but we were inspired to write a song about it.”
\nLooking to Remember\n\"It's a song about talking to myself, but also written for other people. Over time, you have these periods of losing faith in yourself and feeling like the circumstances you're in are out of your control. So it's like a reminder that everything you do, you can choose what you want to do. You can choose who you are. When I wrote it, I made it as if I'm talking to a friend. But I think it's something that I need to hear just as much as everyone else. It's kind of like, ‘Take a look in the mirror. It's on you, man. Suck it up. You need to remember that you're in control of your own life.’\"
\nToo Much\n\"I feel like nowadays we live in this age where everybody wants everything to be like spilling-out-your-heart sincere and real. But when you write a lot of songs, it can be really fun also. We just had a lot of fun with this. David came up with this idea of 'too much,' and then doing this 'too much, too much, too much' and having it echo all the time. And just everything is too much 'too much,’ you know? We really tried to write—I guess maybe the way that R&B songs sometimes do this—with just lots of illuminating the same concept over and over again in different dimensions. And then it also has this Janet Jackson 'That's the Way Love Goes’ vibe.\"","short":"“There was just enough pressure to not overthink it.”"},"isCompilation":false}},{"id":"885012861","type":"albums","href":"/v1/catalog/us/albums/885012861?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music2/v4/5c/17/36/5c17360b-ea43-e3df-7602-c81ee3e1861e/656605530468.jpg/{w}x{h}bb.jpeg","bgColor":"d66f29","textColor1":"090402","textColor2":"161209","textColor3":"32190a","textColor4":"3c250f"},"artistName":"TOPS","isSingle":false,"url":"https://music.apple.com/us/album/picture-you-staring/885012861","isComplete":true,"genreNames":["Alternative","Music","Pop","Rock","Electronic"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2014-09-02","name":"Picture You Staring","recordLabel":"Arbutus Records","editorialArtwork":{},"copyright":"℗ 2014 Arbutus Records","playParams":{"id":"885012861","kind":"album"},"isCompilation":false}},{"id":"1212378432","type":"albums","href":"/v1/catalog/us/albums/1212378432?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music111/v4/46/78/4e/46784e7f-cad5-828e-7c4f-83f6f581f167/656605356068.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"000101","textColor2":"002a41","textColor3":"333434","textColor4":"335567"},"artistName":"TOPS","isSingle":false,"url":"https://music.apple.com/us/album/sugar-at-the-gate/1212378432","isComplete":true,"genreNames":["Indie Pop","Music","Alternative","Rock","Electronic","Pop"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2017-06-02","name":"Sugar at the Gate","recordLabel":"Arbutus Records","editorialArtwork":{},"copyright":"℗ 2017 Arbutus Records Inc.","playParams":{"id":"1212378432","kind":"album"},"editorialNotes":{"standard":"On their third album, TOPS fully luxuriate in silky soft pop filled with breezy melodies that are cozy and familiar. Jane Penny's Feist-like purrs have a sunny, AM-radio feel while gliding through waves of glimmering synths on the indie-pop opener, \"Cloudy Skies.” She then shows the sweet restraint of classic R&B on \"Further\" and explores blue-eyed soul in \"Petals.\" The sultry flow of \"Marigold & Gray\" has slinky Lindsey Buckingham–influenced guitar licks filtered through a woozy Ariel Pink–like vision.","short":"A luxurious mix of silky smooth soft pop."},"isCompilation":false}},{"id":"617447866","type":"albums","href":"/v1/catalog/us/albums/617447866?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music/v4/b6/2a/aa/b62aaa05-271c-5498-008d-387ac8ab2d3e/cover.jpg/{w}x{h}bb.jpeg","bgColor":"b0ada8","textColor1":"000000","textColor2":"191b1b","textColor3":"232221","textColor4":"373837"},"artistName":"TOPS","isSingle":false,"url":"https://music.apple.com/us/album/tender-opposites/617447866","isComplete":true,"genreNames":["Alternative","Music","Electronic","Rock","Adult Alternative"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2012-02-28","name":"Tender Opposites","recordLabel":"Arbutus Records","editorialArtwork":{},"copyright":"℗ 2012 Arbutus Records","playParams":{"id":"617447866","kind":"album"},"isCompilation":false}},{"id":"1481145003","type":"albums","href":"/v1/catalog/us/albums/1481145003?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/ba/30/bf/ba30bfcb-1fc7-eb98-f91d-f1792009057a/194491390686.jpg/{w}x{h}bb.jpeg","bgColor":"18181a","textColor1":"eef4f3","textColor2":"8280eb","textColor3":"c3c8c8","textColor4":"6c6bc1"},"artistName":"TOPS","isSingle":false,"url":"https://music.apple.com/us/album/echo-of-dawn-seven-minutes-single/1481145003","isComplete":true,"genreNames":["Indie Rock","Music","Alternative"],"trackCount":2,"isMasteredForItunes":false,"releaseDate":"2019-10-23","name":"Echo of Dawn / Seven Minutes - 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Teicher reconnects with her Latin American roots on the Spanish-sung “Matando” and the marimba-heavy “No Juegues,\" while the slow-burning “When He’s Done” enthusiastically dips into country. “Even If It Hurts”—featuring Blood Orange, with whom she collaborated on “Hope,” from his 2018 album Negro Swan—is a grooving duet that thoughtfully explores the pain that sometimes accompanies falling in love.","short":"The Colombian Canadian R&B singer shakes off baggage on her second LP."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1440889503","type":"albums","href":"/v1/catalog/us/albums/1440889503?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music128/v4/6c/d3/25/6cd32595-fec8-426b-7085-d93aa6f586a6/00602557363067.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"f2efe6","textColor2":"ebd0c3","textColor3":"c2bfb8","textColor4":"bca69c"},"artistName":"Tei Shi","isSingle":false,"url":"https://music.apple.com/us/album/crawl-space/1440889503","isComplete":true,"genreNames":["Alternative","Music","Rock","Electronic"],"trackCount":15,"isMasteredForItunes":true,"releaseDate":"2017-03-31","name":"Crawl Space","recordLabel":"Downtown JV","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features111/v4/91/f2/d3/91f2d3a3-20d6-06af-9f2a-4f88890bc6ae/source/{w}x{h}bb.jpeg","bgColor":"bcb8ad","textColor1":"0b0f13","textColor2":"191f1e","textColor3":"2e3132","textColor4":"393d3b"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features122/v4/06/06/c4/0606c4c1-7eec-a275-33ab-3f49d2363b7e/source/{w}x{h}bb.jpeg","bgColor":"c4bfb6","textColor1":"0a0d12","textColor2":"111314","textColor3":"2f3132","textColor4":"343534"}},"copyright":"℗ 2017 Downtown/Interscope Records","playParams":{"id":"1440889503","kind":"album"},"editorialNotes":{"standard":"The songs on Tei Shi’s debut album are tied together with short recordings from her childhood: “I just hope one day, I can be like Britney Spears,” she laments, after complaining that she can’t do anything right. But on Crawl Space, she gets a lot right: She flexes an impressive vocal range, nuanced songwriting, and her own suave production. Yet what really makes Tei Shi such a force is the way she tries on sounds and personas like costumes: sex kitten, girl next door, pop star. In that way, she has become a bit like Britney, bravely pushing the envelope in search of her authentic self.","short":"Uplifting, confident, and awesomely original."},"isCompilation":false,"contentRating":"explicit"}}]}},"meta":{"views":{"order":["featured-release","latest-release","featured-albums","full-albums","top-music-videos","singles","live-albums","compilation-albums","appears-on-albums","similar-artists"]}}}]}