Today, October 17th, Australian group Girl and Girl has shared a lyric video for their new song “The Cow.”
 
Frontman Kai James shares on the track, “All my friends call me ‘The Cow!’ Not really, but sometimes I think they should, because sometimes I let my cow brain speak louder than my cow heart, and of all of your cow parts, you should listen most to your cow heart.”
 
This new single follows the release of Call A Doctor, the band’s debut full-length. Known for their high-intensity live performance, they just concluded their second tour of the UK and EU and they supported Royel Otis on their sold-out US run earlier this year. Girl and Girl will tour Australia to celebrate the release of The Cow before joining the Laneway Festival national tour in February 2025.

 
What people are saying about Girl and Girl:
“A fantastic debut from a sparkly and singular new band.” [Call The Doctor] NME
 
“Emotional mayhem that’s relatable, and very catchy.” - Rolling Stone Australia
 
“A perfect dose of indie – punk rock at its best.” - [“Hello”] Happy Mag
 
“A warped mix of Talking Heads, Rolling Blackouts and bits of post-punk but led by a man with a mullet and one of their aunts plays drums in the band!” - [SXSW Review] BBC 6 Music
 
“Brisbane four-piece Girl and Girl are ones to watch in the world of sharp-tongued raucous-riffed garage rock…Girl and Girl’s all too rare multigenerational collaboration brings a fresh angle on the post-Strokes garage rock sound.” KUTX Radio
 
“Girl and Girl recall the stalwarts of 2010s garage rock, their affinity with jangly guitars and buoyant rhythms undercut by feverishly intense playing and a cloying sense of claustrophobia.” [Call The Doctor] DIY
 
 “…every member of Girl and Girl is too young to have experienced the garage rock revivalism of Y2K firsthand, save Aunty Liss, the drummer who supports her nervy nephews in this band of Australian post-punk traditionalists. Fronted by the wiry Kai James — handsome and jittery, never reclusive — the group treated sacred post-punk texts as if they were a common language when they played the 13th Floor, giving their barbed hooks and sideways riffs real kick. They’re carrying a torch without succumbing to nostalgia or formalism, all because they’re intoxicated by the noise they make.” [Best of SXSW 2024] RollingStone

Today, Father John Misty is releasing “She Cleans Up,” a new, official video from Mahashmashana, his forthcoming album. The video was co-directed by Father John Misty band member Chris Dixie Darley and filmmaker Aaron Caleb Eisenberg.
 
PASTE included the song in its “Best New Songs of the Week” column and said, “Feeling a little bit like a FJM-ified marriage between Bob Dylan’s “Subterranean Homesick Blues” and Viagra Boys’ “Punk Rock Loser,” or maybe just like Spoon at their funkiest, “She Cleans Up” is an amalgamation of rock homages and head-banging bass parts…a thoroughly weird and thoroughly enjoyable track that just begs to be blasted while speeding down a highway in some sick-ass shades.” FLOOD offers this, “A blues-leaning, scuzzy rock jam that sounds way more like Jack White than I think I’d ever expect from FJM. I feel like Father John Misty would make fun of me for coming to that conclusion.” Rolling Stone called it “a stomping glam-and-grit rocker driven by a chunky bass line, splashy baselines, and guitar riffs designed to be blown to rattle the casings of your speakers.” UPROXX notes it’s “A swaggering rocker…” concurring with NME, who goes further, “His distorted vocals are backed by an infectious electric guitar part and swaggering upbeat drums…”
 
Father John Misty’s previously announced headlining tour dates for 2025 in support of Mahashmashana, including his North America run with special guests Destroyer and UK dates with support from Butch Bastard, are on sale now.
 
Father John Misty’s Mahashmashana will be out Friday, November 22nd, 2024, worldwide from Sub Pop and in the UK and EU from Bella Union.

Father John Misty
Mahashmashana
 
1. Mahashmashana
2. She Cleans Up
3. Josh Tillman and The Accidental Dose
4. Mental Health
5. Screamland
6. Being You
7. I Guess Time Makes Fools of Us All
8. Summer’s Gone

As previously announced, On November 8th, Sub Pop will release Like Someone I Know: A Celebration of Margo Guryan, a 12-song compilation and homage to Guryan’s classic 1968 record, Take a Picture. Today, Sub Pop shared the final pre-release song, “What Can I Give You,” which was covered by Kate Bollinger. Click here to listen.
 
To celebrate the release of this compilation, there will be two DJ events throughout November in LA & Chicago. The first event will be on November 9th at Gold Diggers in Los Angeles with DJ Sets from Pearl & Oyster and Slyvie, with a following event on November 21st at the Empty Bottle with DJ Sets from St. Stephen and Ali Najdi. The LA event will feature a limited amount of screen-printed tote bags designed by Madalyn Stefanak for sale, so get there early to secure your bag. A portion of proceeds from these events and merch sales will be donated to providing and advocating for affordable reproductive health services. Both events are FREE to the public; click here for tickets in LA and here for tickets in Chicago.
 
This 12-song compilation features additional reinterpretations by contemporary artists such as Margo Price, TOPS, Clairo, Rahill, June McDoom, MUNYA + Kainalu, Frankie Cosmos + Good Morning, Kate Bollinger, Pearl & The Oysters, Bedouine + Sylvie, Barrie, and Empress Of. The release of Like Someone I Know: A Celebration of Margo Guryan also coincides with the third anniversary of Margo’s passing. A portion of proceeds from this album will be donated to providing and advocating for affordable reproductive health services.
 
Like Someone I Know: A Celebration Of Margo Guryan is available to preorder from Sub Pop. LP preorders from megamart.subpop.com (North America), Mega Mart 2 (UK/EU), and independent retailers worldwide will receive the limited Loser edition on Opaque Red vinyl (while stock lasts!).
 
Like Someone I Know: A Celebration Of Margo Guryan was produced by Izzy Fradin and Jonathan Rosner.
 
About Margo Guryan:
Most of our stories about cult musicians who make an album or two and then seem to vanish are framed by grief, despair, and frayed ambition. Not so with Margo Guryan, an ardent jazz anomaly who disdained pop music until hearing “God Only Knows” in 1966, opening a window onto the wonders that form could contain. Only two years later, she released her own set of little pop symphonies, Take a Picture, to great praise and expectation. But having already divorced the hard-gigging valve trombonist Bob Brookmeyer, she declined to tour or even talk about it all that much, content even if her reticence meant Take a Picture was soon consigned to discount racks and cutout bins. She wrote and recorded for years to come, even collaborating with Neil Diamond’s band, but mostly she seemed satisfied by her relatively private life—raising her stepson, Jonathan; carousing with a small clutch of pals; talking politics with whoever was game. Rather than a tragedy, Guryan was an ornate pop architect who also drew and lived by her boundaries.
 
But as befits music so stunning and subtle, Guryan, who died in 2021, has enjoyed several renaissances over the last few decades—multiple reissues and international intrigue, faithful champions who introduced her tender work to successive generations. And now, it’s happening again: Soon after her near-whispered and lovelorn hymn “Why Do I Cry” made her a TikTok star in 2021, the same year she passed, Numero Group launched a reissue campaign, resulting in the acclaimed 2024 set, Words and Music. And now, a dozen artists—none of whom were born when Take a Picture was made, most of whom weren’t even born for a crucial early reissue by Franklin Castle—have reinterpreted and reimagined that entire album (plus one bonus track) for Like Someone I Know: A Celebration of Margo Guryan. Empress Of, Margo Price, Clairo, June McDoom: They all affirm Guryan’s sharpness as a songwriter and the brilliance of an album that has far outstripped whatever promotional cycle Guryan rejected so long ago.

Guryan was born to a sprawling family in a home so big it housed multiple generations just before World War II in Far Rockaway, back when the place was still mostly framed by trees. Her family was matrilineal, with a mother who worked as a radiologist while her father played piano at home and a widowed grandmother who ran the place with unwavering sovereignty. While still a composition student at Boston University, Guryan stumbled into a gig playing piano between Miles Davis Quintet sets, signed a songwriting deal with Atlantic Records, and botched a session with Nesuhi Ertegun. But she wasn’t looking to be a singing star, anyway. In 1959, she headed to the foundational Lenox School of Jazz in the Berkshires, staving off advances from her contemporaries to write for Ornette Coleman and Don Cherry, earn the attention of instructor Max Roach, and made a longtime mentor and friend of Gunther Schuller. She became an accomplished lyricist, writing not only for Coleman and Nancy Harrow but also for Harry Belafonte and Gary MacFarland.
 
But it was that subsequent encounter with the Beach Boys that opened the trap door for Guryan to Take a Picture and scores of other super songs, many of which appear on Words and Music. Take a Picture is a sophisticated survey of mid-20s romance and indecision, from the flirty romp of “Sunday Morning” and falling-for-you affirmation “Can You Tell” to the desperate helplessness of “What Can I Give You.” In less than 150 seconds, “Thoughts” traces a relationship from its ecstatic start to empty end, Guryan’s pillowtop voice sitting perfectly between the bouncing piano and lachrymose strings. She mines nostalgia for the recent past in “Someone I Know” and, quite brilliantly, for something that hasn’t even ended yet in the title cut.
What remains astonishing about Take a Picture is how placid and nice the surface can seem yet how much is going on just beneath it—the difficult rhythmic shifts, the textural juxtapositions, the dissonance and eeriness lurking in the crevices. Twice as long as almost everything else here, the willfully psychedelic excursion and closer, “Love,” is a jarring semaphore, telling you to go back and listen for the intricacies in everything else. “When do you get to be someone who can give/And live without hurting someone you love?” she coos over caustic guitar and curling organ, the question spilling in reverse over the rest of the record.
 
Those mirrored senses of slyness and meticulousness, both musical and lyrical, presided over Guryan’s output long after any idea of stardom had faded. She turned earthquake danger into existential boogie on “California Shake,” celebrated the outlaws and their long odds during “I’d Like to See the Bad Guys Win,” and danced with entendre during “Come to Me Slowly.” Indeed, Guryan was not afraid of mischief, whether lampooning the president and all his men during a three-song suite about Watergate or presaging Rihanna by half a century on “Under My Umbrella.” Her perpetually soft voice, audacious songcraft, and complete candor: Guryan, in 1968 and beyond, was making daring music, no matter how gently those sounds seemed to move.
 
A portion of proceeds being donated to providing and advocating for affordable reproductive health services, Like Someone I Know reinforces the strength of Guryan’s songs by allowing a dozen different artists to take them for trips of their own. The core always remains, unwavering. McDoom stretches static and harmony beneath “Thoughts,” as if they’re spinning on a dub plate beneath her arcing vocals. Rahill lets “Sun” unfurl over harmonium drone and entrancing percussive ticks, digging into Guryan’s interest in the surreal. Frankie Cosmos and Good Morning take a country shuffle through “Take a Picture,” entwined vocals falling over the rhythmic skips with perfect romantic relish. Over the last few decades, it has become increasingly clear just how good Guryan was, how sturdy her songs have been amid varying tides of taste. Like Someone I Know offers absolute validation, a testament to the enduring relevance and brilliance of Guryan’s work.

Various Artists
Like Someone I Know: A Celebration Of Margo Guryan
 
Tracklisting:
1. Sunday Morning (TOPS)
2. Sun (Rahill)
3. Love Songs (Clairo)
4. Thoughts (June McDoom)
5. Don’t Go Away (MUNYA | Kainalu)
6. Take a Picture (Frankie Cosmos |Good Morning)
7. What Can I Give You (Kate Bollinger)
8. Think of Rain (Pearl & The Oysters)
9. Can You Tell (Bedouine | Sylvie)
10. Someone I Know (Empress Of)
11. Love (Barrie)
12. California Shake (Margo Price)

Today, November 12th, Clipping shares “Keep Pushing,” a driving new jam with electro-funk and big-beat elements, written and produced by the group, featuring strings from John W. Snyder, mixed by Steve Kaplan, and mastered by Levi Seitz at Blackbelt Mastering.
 
“Keep Pushing” is another offering from Clipping’s forthcoming new album, a long-in-the-works Hip-Hop and Cyberpunk project, due worldwide from Sub Pop in 2025. It follows the release of the group’s acclaimed horrorcore series Visions of Bodies Being Burned (2020) and There Existed an Addiction to Blood (2019), also available from Sub Pop.
 
Last month, Clipping released the official video for the single “Run It.” Consequence of Sound says of the track, “It seems as if Clipping have rediscovered their love for rave-ready bangers — at least Clipping’s fucked up version of a rave-ready banger. ‘Run It’ is a relentless, skittering, up-tempo rager complete with noisy embellishments and Daveed Diggs’ technical flows. In other words, it goes nuts.”
 
Stereogum said, “It’s a fast, physical rap attack…On ‘Run It,’ Daveed Diggs goes into athletic overdrive, rapping over a pulsing, clanking, extremely fast beat from his bandmates Jonathan Snipes and William Hutson. The track’s smears of digital noise sometimes cohere into Detroit techno riffs. This is a good one — a track that keeps all the prickly intensity of clipping.’s music without getting so extreme that you couldn’t play it on your headphones while you’re on the treadmill. In the quick-cut Lawrence Klein-directed video, secret agents tail clipping. through DC, Berlin, Prague, New Delhi, Bangkok, and Seoul, on some Jason Bourne/Carmen Sandiego shit.”
 
Clipping will appear at Knoxville’s Big Ears Festival on Saturday, March 29th, 2025. Tickets for the fest are on sale now—additional tour dates to be announced soon.