Cindy Lee's 'Diamond Jubilee' finally hits Spotify & other streaming services

Cindy Lee‘s Diamond Jubilee is one of 2024‘s most lauded albums, but it has also been one of the hardest to listen to. Not on a musical level, of course, but ease of finding it in our streaming era. It originally dropped in March and was only available as two massive CD-length WAV files you could download or a two-hour YouTube stream. It was made available on Bandcamp in March, which is when preorders launched for CD and vinyl versions which will be out in early 2025. But it stayed off Spotify, TIDAL and other streaming services.

Till now. Diamond Jubilee is now available in all its sprawling glory to stream, add to playlists, skip straight to the halfway point, etc. If you haven’t listened yet, it’s fantastic, and it’s never been easier to do so.

It turns out the Diamond Jubilee streams were not official. The label Superior Viaduct is having them taken down now. You can still listen on Bandcamp or Youtube though. Do so below.

‘Eno’ Documentary Streaming Debut Is a 24-Hour Event With Multiple Versions and Surprise Guests

“Eno” was already a groundbreaking documentary, as the first non-fiction feature film to screen in a different randomly-generated version each showing. But since its January premiere at Sundance, the documentary about the music and creative process of Brian Eno has only been available to screen at special roadshow theatrical engagements — from which it has grossed nearly a million dollars so far.

Now Gary Hustwit‘s technologically innovative doc will be available to viewers at home for the first time in a special 24-hour livestream with multiple versions of the film about the British musician and producer who played with Roxy Music and worked with David Bowie, the Talking Heads and U2. Special surprise guests will drop by the livestream to perform and give talks, and the stream will also incorporate the generative art prequel piece “Nothing Can Ever Be the Same” that showed at the Venice Biennale.

“You see unique versions of it at different times around the clock,” says Hustwit. “So people in other countries and in Asia and all the places that have been bugging us about setting up events in their cities can all watch.”

“Every few hours there’ll be a version of the film, but there’ll be all kinds of things in between,” says Hustwit. “You could dip in, watch a version in the morning, go to work, come back, watch another one in the middle of the night.”

Just 24,000 tickets to the 24-hour livestream on Jan. 24 will be released, at a ticket price of $24.

“We’ve got a very experimental approach with the film and this is one of the things we get to do — try new things,” says Hustwit.

Hustwit, the director of acclaimed documentaries like “Helvetica,” pioneered a unique approach with “Eno” that recombines more than 500 hours of footage into a different 84-minute version each time it’s watched. It’s not a technology that readily translates to selling the rights to a streaming service. Still, Hustwit says he’s working on bringing dynamically-generated movies to streaming, not just “Eno” but projects from other filmmakers too.

“The industry, especially the documentary industry, just needs a little bit of of shaking up, and we can try new things. It’s definitely like the distribution system is broken now. So why not mix things up and try something new?” he says.

“I think that functionality is something that the streamers will have to adopt soon, with all the disruption that’s happening and will continue to happen,” Hustwit predicts.

GIZM0: A ONE-MAN MUSICAL VISIONARY UNVEILS HIS UNIQUE SOUNDSCAPES

Montreal-based producer and composer Gizm0 has been captivating listeners with his evocative blend of melodic deep house and cinematic soundscapes. Self-taught and driven by a passion for music that began with his first synthesizer at 16, Gizm0 combines intricate production with heartfelt storytelling to create immersive auditory experiences.

On his latest mini-album, Invisible Clockworks (released September 22, 2023), Gizm0 offers a hopeful and optimistic exploration of rhythm and melody. Featuring the tracks "Don’t Leave Me Alone," "Waves of Starlight," and "Tear in Your Eye," the project showcases his ability to craft layered compositions that evoke both introspection and wonder.

"The title Invisible Clockworks refers to the unseen mechanisms in nature—the Sun, Moon, and tides—that inspire awe and beauty,” Gizm0 explains. “It’s also a metaphor for the way the elements in my songs work together to capture a listener’s attention and create a connection."

Gizm0’s musical journey began with a passion for experimentation, eventually leading him to master multiple instruments and hone his production skills. Inspired by the likes of Kidnap and Ben Böhmer, he took the leap into creating original music in 2018, producing a series of standout releases that have defined his style.

His 2020 EP, Sleepdiving, was a turning point, inviting listeners into a dreamlike world. "That album was about escaping into a dreamscape during the isolation of the pandemic," Gizm0 recalls. "It was a release of anxiety. Invisible Clockworks, on the other hand, is about finding hope and optimism in the rhythms of life."



All tracks written, recorded, produced, mixed, and mastered by Gizm0.
Cover art by Gizm0.

Gizm0 continues to push the boundaries of his craft, blending his love of music, physics, and space to create works that resonate deeply. With plans for live shows and a new album on the horizon, Gizm0 is determined to inspire listeners worldwide with his unique sonic vision.

Primal Scream release first album in eight years, ‘Come Ahead’ – listen to cosmic new single ‘Love Insurrection’

Primal Scream have announced details of ‘Come Ahead’ – their first new album in eight years. Check out the new single ‘Love Insurrection’ below.

Announced today (July 17), the new project will mark the band’s 12th studio album and first full-length LP since 2016’s ‘Chaosmosis’. It’ll contain 11 new tracks, and is set to see songwriter, vocalist and frontman Bobby Gillespie deliver some of his most personal and emotionally-open work of his career.

The writing process began back in 2022, and came during a time when Gillespie was unsure if he would make another Primal Scream album again. According to a press release, the entire LP began with the lyrics, and marked the first time in a long while where the words came ahead of the music.

“The story came first. Bobby wrote alone, using an acoustic guitar. Ideas flowed fast, in long bursts of inspiration,” it read. “This process, in tandem with encouragement from producer David Holmes, provided a new way in. Working with Holmes and Primal Scream guitarist Andrew Innes, the Come Ahead sessions were completed between Belfast, London and Los Angeles.”

To celebrate the album announcement, the band have today shared the lead single ‘Love Insurrection’. Comprised of deep, groove-laden basslines and funk-inspired guitars, the single has a cosmic undertone, and has lyrics that serve as both a warning and a way of finding hope in uncertain times. Check it out below.

“I’m very excited about this album in a way that you would be making your first record. If there was an overall theme to ‘Come Ahead’ it might be one of conflict, whether inner or outer,” said Gillespie of the new LP.

The Magnetic Fields add more '69 Love Songs' shows for 2025

 

The Magnetic Fields have been celebrating the 25th anniversary of their classic 1999 triple album 69 Love Songs throughout 2024, playing it in full over two-night stands in different cities, and they’ve extended the run into 2025. The new shows run from March through May, including stops in Toronto, Pittsburgh, Milwaukee, St. Paul, Cincinnati, and more. See all dates below.

There’s no new NYC show, but they’ll be in Tarrytown, NY at Tarrytown Music Hall on April 4 and 5. Tickets for all dates are on sale now.

The lineup for these shows has included Claudia Gonson, John Woo, Sam Davol, Shirley Simms and Stephin Merritt, who all played on the album, along with current Magnetic Fields members Chris Ewen and Anthony Kaczynski.



THE MAGNETIC FIELDS: 2025 TOUR DATES
Mar 26, 2025 Queen Elizabeth Theatre Toronto, ON
Mar 27, 2025 Queen Elizabeth Theatre Toronto, ON
Mar 29, 2025 Carnegie Lecture Hall Pittsburgh, PA
Mar 30, 2025 Carnegie Lecture Hall Pittsburgh, PA
Apr 1, 2025 Agora Theatre and Ballroom Cleveland, OH
Apr 2, 2025 Agora Theatre and Ballroom Cleveland, OH
Apr 4, 2025 Tarrytown Music Hall Tarrytown, NY
Apr 5, 2025 Tarrytown Music Hall Tarrytown, NY
Apr 8, 2025 Chubb Theatre Concord, NH
Apr 9, 2025 Chubb Theatre Concord, NH
Apr 11, 2025 Keswick Theatre Glenside, PA
Apr 12, 2025 Keswick Theatre Glenside, PA
Apr 14, 2025 Jefferson Center Roanoke, VA
Apr 15, 2025 Jefferson Center Roanoke, VA
May 6, 2025 The Pabst Theater Milwaukee, WI
May 7, 2025 The Pabst Theater Milwaukee, WI
May 9, 2025 Fitzgerald Theater Saint Paul, MN
May 10, 2025 Fitzgerald Theater Saint Paul, MN
May 12, 2025 Royal Oak Music Theatre Royal Oak, MI
May 13, 2025 Royal Oak Music Theatre Royal Oak, MI
May 16, 2025 Englert Civic Theatre Iowa City, IA
May 17, 2025 Englert Civic Theatre Iowa City, IA
May 19, 2025 Memorial Hall Cincinnati, OH

Kendrick Lamar Scores No. 1 Debut With ‘GNX’

Kendrick Lamar starts his exhilarating new album by complaining that someone vandalized a mural depicting his face — a mural depicting his face in triplicate, in fact — on the side of a Honduran restaurant in his Compton hometown. Never mind that somebody cared enough about Lamar to paint the mural in the first place. What the 37-year-old rapper is pissed about is that this billboard-sized monument to his greatness was defaced.

That’s the energy Lamar is tapped into on the deeply irritated “GNX,” which came out by surprise Friday morning, eight months to the day after he jumped into an epic feud with Drake that ended up lifting Lamar to new heights of commercial success and cultural prestige. (That the Pulitzer Prize winner vanquished Drake in their beef now goes without saying.) In April, he scored a No. 1 single with his appearance on Future and Metro Boomin’s “Like That”; in May, he did it again with his own “Not Like Us.” Lamar put on a historic all-star concert in June at Inglewood’s Kia Forum, then announced that he’ll headline the Super Bowl halftime show in New Orleans in February, just a week after “Not Like Us” is set to compete for record of the year and song of the year at the 67th Grammy Awards.

Yet grievances abound on “GNX,” whose dozen tracks had taken spots 1 through 12 on Spotify’s U.S. Top 50 by early Sunday and which is all but certain to debut atop the Billboard 200 next week with one of 2024’s biggest openings. In “Wacced Out Murals” he can’t believe that Snoop Dogg had the audacity to post one of Drake’s diss tracks on social media — “I prayed it was the edibles” is his concern-trolling explanation — and laments Lil Wayne’s public disappointment that Lamar got the Super Bowl gig instead of him. “Used to bump ‘Tha Carter III,’ held my Rollie chain proud,” he raps, “Irony, I think my hard work let Lil Wayne down.”

“Hey Now” is about the punishing scrutiny he faces as a celebrity, while “Peekaboo” questions those trying to tarnish his legacy. “I did it with integrity and n— still try hate on me,” he growls in “Man at the Garden” — a distinct shift in outlook from Lamar’s previous album, 2022’s knotty “Mr. Morale & the Big Steppers,” where he was riven by self-doubt after a decade of being held up as the voice of his generation. Here, in contrast, he’s daring anyone to say he doesn’t deserve to be admired (even if few beyond Drake have actually suggested that he doesn’t).



Whatever its source at this point, indignation remains a valuable motivator of Lamar’s art; his writing and rapping on “GNX” are as razor-sharp as they were in the brutal diss tracks he released one after another, Drake barely getting a second to breathe between them, this past spring. As funny too: “N— feel like he entitled ’cause he knew me since a kid,” he sneers in “TV Off,” “Bitch, I cut my granny off if she don’t see it how I see it.” Lamar is worked up about liars, about folks doling out backhanded compliments, about other rappers with “old-ass flows” wasting space with empty rhymes. Indeed, what seems to make him angriest is the idea that a person could triumph in hip-hop by taking hip-hop less seriously than he does. The album closes with a song called “Gloria” in which he spends nearly five minutes extending a detailed metaphor that positions writing as the great love of his life.

As eager as he is to frame himself as a singular talent, Lamar happily shares the spotlight on “GNX,” passing the mic to a number of young L.A. up-and-comers including Dody6, Lefty Gunplay, Wallie the Sensei and AzChike; in the title track, he doesn’t even take a verse, merely joining Hitta J3, YoungThreat and Peysoh on the song’s chorus. “Heart Pt. 6” recounts his origin story as a member of L.A.’s scrappy yet shrewd Top Dawg crew. And then there’s the lithe and funky “Dodger Blue,” in which he’s but a humble product of the oft-misunderstood city that shaped him: “Don’t say you hate L.A. when you don’t travel past the 10,” goes one line destined to be seen on a T-shirt or hoodie any day now.

Produced by a team led by Lamar’s longtime collaborator Sounwave and the pop hitmaker Jack Antonoff — Mustard, who helmed “Not Like Us,” also co-produced two tracks — “GNX” is steeped in West Coast styles and sounds; the music slaps, slides, bounces and shimmies. Several songs ride highly recognizable samples: In “Reincarnated,” a densely lyrical fantasy in which Lamar imagines his past lives, the beat is “Made N—” by 2Pac, the late philosopher-braggart in whose contradictions Lamar has always found inspiration; “Luther,” a sensual duet with SZA, remakes Luther Vandross and Cheryl Lynn’s remake of “If This World Were Mine” by Marvin Gaye and Tammi Terrell — a gorgeous piece of lineage-making that calls to mind Beyoncé’s archival ambitions on albums like “Renaissance” and “Cowboy Carter.”

Even amid those plush textures, though, Lamar has retribution on his mind. “If this world was mine, I’d take your enemies in front of God,” he promises-slash-threatens, “Introduce them to that light, hit them strictly with that fire.” Watch out.

PHIL LENTZ INVITES YOU INTO THE WORLD OF JAZZ, POP, AND CLASSICAL WITH HIS NEW ALBUM, PHIL LENTZ PRESENTS…VOL. II

With Phil Lentz Presents... Vol. II, New York City-based jazz composer and pianist Phil Lentz returns with a captivating evolution of his signature sound, crafting a genre-blending album that reaches new emotional heights and technical finesse. Building on the warm reception of his 2022 debut, Lentz delivers a fresh, diverse, and uplifting listening experience that feels both timeless and unmistakably current.

Featuring standout tracks like “Play Your Melody,” “I Remember the Early Days,” and “Bebopping Along,” the album weaves jazz, pop, folk, and classical influences into a seamless tapestry, making it an instant favorite for music lovers of all backgrounds. The album’s lush arrangements blend alto saxophones, violins, and rich vocal textures, creating a soundscape that invites listeners to lose themselves in a melodic journey filled with nostalgia, joy, and introspection.

“This time, I wanted to step beyond the boundaries of traditional jazz,” Lentz shares. “Drawing in elements of folk and classical felt natural, adding layers of texture and depth to the compositions. Each track aims to capture those fleeting moments of peace and joy we all seek.”

Phil Lentz Presents... Vol. II is brought to life by a talented ensemble, including Dennis Harte on guitar, Wolfgang Lugomarsini on bass, Dave Young on drums, and features the soulful sounds of Red Heller and Richard Philbin on alto sax, with Bob Cohen’s violin adding a dynamic flair. Produced by Dennis Harte, recorded at Studio Mozart in New Jersey, and expertly mastered by Tom Hutten at Bionic Mastering, the album offers a finely crafted and resonant listening experience.

Releasing on November 22 on CD and across all major digital platforms, Vol. II is more than just a follow-up—it’s a testament to Phil Lentz’s artistic growth and his boundless vision for contemporary jazz.

MAVERICK TECHNO-METAL DJ/PRODUCER MARK WISE GOES "ABSOLUTELY F#CKING MENTAL" ON NEW EP SATISFACTION

New Jersey DJ/producer Mark Wise has been making dancefloors come alive since he first got behind the turntables at parties in college, and he began producing after graduation. Informed by his background playing percussion, his lifelong love of rock music, and some unexpected modern influences, Wise eventually discovered that heavy metal guitar riffs and dance grooves don't have to be mutually exclusive.

Today, after steeping himself in the work of the industrial-metal and techno pioneers that came before him, Wise continues to forge his own infectious alloy of the elements he loves. "My music can certainly be aggressive," Wise chuckles, "but it's a FUN kind of aggressive."

Wise is set to go "absolutely fucking mental" with his new EP Satisfaction, which drops on all platforms on November 14th via Teoria Perfekta. (An alternate version of the EP with extended mixes is currently streaming as a Beatport exclusive between now and the official release.)

With the track "Satisfaction," Wise reimagines Benny Benassi's dance classic, arriving at his most seamless blend of metal and techno to date. Wise's muscled-up beat whips us into a frenzied trance, which is punctuated by buzzsaw guitars and tortured screams. Be ready to get your body rocked to exhaustion if you're on the dancefloor when this track engulfs the room like a tidal wave.

Meanwhile, on the original "Dark Angels," Wise collaborates with Danicide, singer/guitarist of the Peruvian industrial band Noisecide, to deliver an even heavier gut punch in the style of dance-infused industrial metal a la KMFDM or the CCN remix of Motorhead's "Ace of Spades."

About the EP, Wise has just one thing to say: "Satisfaction is absolutely fucking mental. Completely, 100% mental — and it's glorious."

 

Toro y Moi teams with Death Cab's Ben Gibbard on "Hollywood"

Toro y Moi‘s new album Hole Erth is out in a month, and he’s giving us a couple more early tastes of it with two new singles. The first is “Hollywood,” which finds Toro y Moi in emo-trap territory and features vocals from Ben Gibbard of Death Cab for Cutie and The Postal Service, the latter of which had a big influence on a lot of emo-trap. “I’ve been a fan of Ben’s music for some time now and it only felt right to have him be a part of this record,” Chaz Bear says. “With the album having themes of angst and nostalgia, ‘Hollywood’ felt like a perfect fit.”

The B-side is “CD-R,” which is in a pretty similar sonic orbit as “Hollywood” and which Bear says “is a song that pays homage to the days before playlisting and streaming — the days when things were curated by people and not the algorithm.” Hear both tracks below.

Hole Erth is out on October 1 via Dead Oceans, and also features Duckwrth, Elijah Kessler, Don Toliver, Porches, Kenny Mason, Kevin Abstract, Lev, and Glaive. Bear will be on tour for it soon, including an NYC show at Knockdown Center on October 3. See all dates below.

TORO Y MOI: 2024 TOUR DATES
8/9 – Vancouver, BC @ Vogue Theatre *
8/10 – Seattle, WA @ Thing Fest
8/11 – Portland, OR @ The Best Day Ever Festival
9/20 – Los Angeles, CA @ Hollywood Forever ^
9/27-28 Las Vegas, NV – A Big Beautiful Block Party
10/3 – Queens, NY @ The Knockdown Center
10/18 – 10/19 – Miami, FL @ III Points Festival
10/25 – Berkeley, CA @ Greek Theatre #

* = with Kaitlyn Aurelia Smith
^ = with Zack Fox
# = with Aminé

Stars add 2025 dates to 'Set Yourself on Fire' 20th anniversary tour, including 2 NYC shows

Stars just wrapped up their tour celebrating the 20th anniversary of Set Yourself on Fire, and they’ve now announced they’re extending it into 2025. Dates include NYC, DC, Cleveland, Chicago, Indianapolis, Halifax, Edmonton, Vancouver and Calgary, and all are listed below.

“How could we not do more? A choir room of a community that’s been built over 20 years was too electric not to continue,” says Stars’ Amy Millan. The 2025 tour starts with two nights at NYC’s Racket on February 6 & 7. Tickets for all just-announced shows go on sale Friday, November 1 with various presales beforehand.

The 20th Anniversary edition of Set Yourself on Fire is out on on vinyl, and the digital edition includes bonus tracks “Rollerskate” and “Petite Mort.”

Yasmin Williams announces new album 'Acadia,' shares first song with lyrics

Yasmin Williams has announced that she’ll follow 2021’s excellent Urban Driftwood with a new album, Acadia, on October 4 via Nonesuch (pre-order). 

She says:

I’m so proud to finally present Acadia to y’all. It’s my most sonically expansive work to date and features an array of accomplished musicians and friends including Immanuel Wilkins on saxophone, Aoife O’Donovan and Darlingside on vocals, Marcus Gilmore on drums, Kaki King and William Tyler on guitar, Dom Flemons on bones, and more artists who played phenomenally. I played several instruments on the album, including, but not limited to, many kinds of guitars, calabash drum, kora, and banjo. The sonic world of the album ranges from classically minded folk music to full rock with jazz influences and everything in between.

The first single from the album, “Virga,” features Darlingside, who’s music NPR describes as “exquisitely arranged, literary-minded baroque folk-pop” on vocals and experimental multi-instrumentalist Rich Ruth on synth. This song is the first I’ve ever released that includes lyrics. I hope y’all take a listen to it and let me know what you think!

As Yasmin mentions, “Virga” is out now and it’s a breathtaking first single. Over the course of six and a half minutes, she fuses gorgeous acoustic guitar arpeggios with airy, fluttery vocals from Darlingside that could fit on a Sufjan Stevens record. Listen to this wonderful new song below. The album also includes Yasmin’s 2023 single “Dawning,” which features wordless vocals by Aoife O’Donovan. You can watch the video for that song below too.

Yasmin also has several tour dates coming up, including a run opening Brittany Howard and Michael Kiwanuka‘s co-headlining fall tour. That tour hits the NYC-area on October 2 at The Capitol Theatre and October 3 in Central Park. All dates are listed below.



Tracklist
1. Cliffwalk (feat. Dom Flemons)
2. Harvest (feat. Kaki King, Darian Donovan Thomas)
3. Hummingbird (feat. Allison de Groot, Tatiana Hargreaves)
4. Virga (feat. Darlingside)
5. Sisters
6. Dawning (feat. Aoife O’Donovan)
7. Dream Lake (feat. Malick Koly)
8. Nectar (feat. Magro)
9. Maluma (feat. Marcus Gilmore, Immanuel Wilkins)

Yasmin Williams — 2024 Tour Dates
September 6 – Kennedy Center (DECLASSIFIED SERIES with Ben Folds, Madison Cunningham, Robert Thomas, and the National Symphony Orchestra) – Washington, DC
September 8 – Evanston Folk Festival – Evanston, IL
September 29 – The Met – Philadelphia, PA *
September 30 – Roadrunner – Boston, MA *
October 2 – The Capitol Theatre – Port Chester, NY *
October 3 – Central Park SummerStage – New York, NY *
October 5 – Chicago Theatre – Chicago, IL *
October 6 – Palace Theatre – St. Paul, MN *
October 8 – Mission Ballroom – Denver, CO *
October 10 – Outlaw Field at the Idaho Botanical Garden – Boise, ID *
October 11 – McMenamins Edgefield Amphitheater – Troutdale, OR *
October 12 – Queen Elizabeth Theatre – Vancouver, BC *
October 14 – Britt Pavilion – Jacksonville, OR *
October 15 – Paramount Theatre – Seattle, WA *
October 17 – The Greek Theatre – Berkeley, CA *
October 18 – The Greek Theatre – Los Angeles, CA *
October 19 – Vina Robles Amphitheatre – Pasa Robles, CA *
October 23 – Stoughton Opera House – Stoughton, WI
October 25 – The Block – Muskegon, MI
October 26 – The Ark – Ann Arbor, MI
November 7 – Pitchfork Music Festival – London, UK

* w/ Brittany Howard and Michael Kiwanuka

Massive Attack cancel fall US tour due to "unforeseen circumstances"

Teardrop shed. Massive Attack have canceled their fall US tour, which was set to start in less than a week on Thursday, October 17. They wrote on Instagram stories: “Due to unforeseen circumstances, Massive Attack must regrettably cancel their upcoming performance at III Points Festival in Miami FL on October 19th, as well as their shows in Atlanta GA, Washington DC, Boston MA, and Forest Hills NY. We appreciate your understanding at the time.”

That’s all we know. Even though they say “cancel,” let’s hope we get a tour in 2025. Stay tuned.

The tour, which was to be their first here since 2019, was set to feature Cocteau Twins’ Elizabeth Frazier, Horace Andy, and Young Fathers.