Stereogum

17 hours ago | stereogum.com | Chris DeVille

Sorry Girls announced their Tusk-inspired new album Dreamwalker last month with the release of lead single “Ricochet,” which we found quite pleasing. The Montreal band is back today with another track from the new LP. “Quiet Hands” is a swooning midtempo pop-rock track with a slightly twangy lead vocal from Heather Foster Kirkpatrick. They’ve paired it with an iteration on the always popular tour-footage compilation music video format. Watch below. Dreamwalker is out 6/13 on Arbutus.

18 hours ago | stereogum.com | Chris DeVille

Things are changing rapidly within the world of Billy McFarland’s Fyre Fest scam. McFarland, whose first half-baked attempt at a glamorous tropical-island music festival in 2017 was a fraudulent, schadenfreude-stoking disaster, has been talking up a second festival since his release from prison. But after multiple planned destinations for Fyre Fest 2 denied the event was actually happening there, McFarland indefinitely postponed the event last week.

1 day ago | stereogum.com | Chris DeVille

You gotta hear this new Big Girl EP. The Brooklyn-based band, led by Kaitlin Pelkey, is working closely with Ekko Astral, whose Jael Holzman explains them as “the punk version of Chappell Roan.” (The two acts have a collaboration in the works, and Big Girl are playing Ekko’s trans rights festival Liberation Weekend.)The Roan comparison makes sense immediately within a few seconds of pressing play on DYE, the five-song collection Big Girl released today.

1 day ago | stereogum.com | Chris DeVille

Rosé and Bruno Mars’ “APT.” is one of the best pop songs in recent memory. You know it, I know it, and Coldplay know it. It’s why the galactic-scale pop-rock band welcomed the Blackpink alum to join them a few hours ago at Goyang Stadium in Goyang-si, South Korea. After Chris Martin sat at the piano and played a bit of “APT.” solo, the full band kicked in and Rosé burst onto the stage.

1 day ago | stereogum.com | Chris DeVille

“You don’t know me, bitch.” Near the end of her new album Bloodless, on a minimal ballad called “Proof,” Samia Finnerty unfurls those words as defiantly as one can when singing in a trembling whisper. In the most intimate moment on an album full of indie-rock confessionals, this is her message, delivered firmly even at a volume that suggests she’s trying not to wake anybody up.