The Lemonheads Preview First Original Album in 19 Years With New Single, ‘Deep End'
Fresh from teasing the release of new album Love Chant last month, The Lemonheads have previewed the upcoming LP with latest single 'Deep End.'
Co-written by Evan Dando alongside longtime collaborator Tom Morgan (of Australian outfit Smudge), 'Deep End' features Juliana Hatfield on backing vocals with additional guitar from Dinosaur Jr.'s J Mascis. Both Hatfield and Mascis make brief cameos in the accompanying video, which was filmed in by São Paulo, Brazil by Surreal Hotel Arts.
More from Billboard
Andy Bell Confirms His Place in Reunited Oasis Lineup
Snoop Dogg Drops 'Iz It a Crime' Album Featuring Sexyy Red, Wiz Khalifa & Pharrell: Stream It Now
'Pink Floyd at Pompeii: MCMLXXII' Live Album Makes Top 10 Debut On Multiple Billboard Charts
The black-and-white clip sees Dando walking down an endless sidewalk as he's passed by a series of objects, people, and landscapes, with his bandmates occasionally joining. 'It's never been so painless making a video,' Dando said of the clip. 'Everyone working was really great. The endless sidewalk goes really well with the song.'
'Deep End' is also backed by a cover of Townes Van Zandt's 'Sad Cinderella,' which features backing vocals from Nashville artist Erin Rae. Both tracks will appear on a limited edition 12″ vinyl single that arrives on June 13 via Fire Records.
The A-side is set to appear on Love Chant, which will arrive as the band's first album of new material since 2006. The record will reportedly release in fall, though specific details are expected to arrive in the coming months.
The Lemonheads first formed in Boston in 1986, with a series of independent albums arriving via Taang! before the group signed to Atlantic for 1990's Lovey.
Working with Morgan while in Australia, The Lemonheads found their commercial breakthrough with 1992's It's a Shame About Ray, which reached No. 68 on the Billboard 200. Its success was bolstered by a cover of Simon & Garfunkel's 'Mrs. Robinson,' and helped the group achieve their commercial peak with 1993's Come on Feel the Lemonheads, which peaked at No. 56.
The Lemonheads initially dissolved in 1997, though Dando reactivated the group in 2005, with a self-titled record arriving the following year. Since then, two cover albums have been released, with Varshons and Varshons 2 being issued in 2009 and 2019, respectively.
Best of Billboard
Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1
Janet Jackson's Biggest Billboard Hot 100 Hits
H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
26 minutes ago
- Yahoo
Kwanza Jones Introduces Inaugural Innovator Award Honoring Teyana Taylor at Historic Apollo Spring Benefit
This year, SUPERCHARGED® CEO Kwanza Jones returns as an Apollo Board Member and Premier Sponsor through her and her husband's Kwanza Jones & José E. Feliciano Initiative to present The Apollo's first-ever Innovator Award! NEW YORK, June 6, 2025 /PRNewswire/ -- At a landmark moment in The Apollo Theater's nearly century-long history, Kwanza Jones, nine-time Billboard-charting music artist, impact investor, and philanthropist, took the stage at the 2025 Apollo Spring Benefit to introduce the first-ever Innovator Award and its honoree, fellow multi-hyphenate Teyana Taylor. This year's Benefit wasn't just a celebration, it was a turning point. As the final Spring Benefit to be held in the current Apollo Theater before its first full-scale renovation in nearly a century, the evening marked the start of a bold new chapter. Jones helped ground that moment through her on-stage remarks, championing The Apollo's role as a space for transformation and spotlighting the power of mindset, voice, and community. She called The Apollo "a place where culture is created, always imitated, never duplicated," and underscored its role as a space for self-expression and bold imagination. Her words laid the foundation for a new tradition, positioning the Innovator Award as both a celebration of fearless artistry and a call to action for collective impact. The Innovator Award, introduced this year by The Apollo, honors artists who break boundaries and shape culture across disciplines. Teyana Taylor, a Harlem native, was recognized for her fearless creative evolution as a performer, director, and artistic visionary who embodies the trailblazing spirit of The Apollo. Jones, whose work also spans the intersections of art, impact, and innovation, brought meaningful resonance to the moment by introducing the Innovator Award and honoring Taylor's multifaceted contributions. Jones stepped out in a show-stopping ensemble styled by Jones herself, wearing a striking Alexander McQueen dress paired with accessories by Stephen Jones and her Kwanza Jones monogram pins. Her bold style echoed the evening's theme of fearless creativity and cultural expression. Following her introduction, Jones returned to the stage alongside fashion icon Dapper Dan, a Harlem native, and actress and comedian Sherri Shepherd to present the Innovator Award to Teyana Taylor, honoring her fearless artistic evolution and cultural impact. As a Board Member and Premier Sponsor through the Kwanza Jones & José E. Feliciano Initiative, Jones has played a key role in shaping The Apollo's strategy and long-term vision, particularly as the institution prepares for a major transformation and looks ahead to its 100th anniversary in 2034. This decade-forward mindset reflects what Jones calls "Dreaming in Decades," a philosophy grounded in long-term planning, strategic action, and sustained commitment. It mirrors The Apollo's own approach as it prepares for renovation and expansion, ensuring the institution continues to thrive as a hub for culture, creativity, and community for generations to come. Through her work across culture, capital, and community, Jones continues to embody The Apollo's mission and extend its legacy, not only through sponsorship and service, but through her voice, her vision, and her values. In addition to the Innovator Award, the evening also celebrated the legendary Clive Davis, who received the Legacy Award and was inducted into The Apollo's iconic Walk of Fame. The honor recognized Davis' decades-long impact on the music industry and his role in shaping the careers of groundbreaking artists. His recognition underscored The Apollo's deep history and its ongoing commitment to honoring those who have shaped the cultural landscape. As the curtain closes on one chapter and a new one begins, the 2025 Apollo Spring Benefit stands as a testament to the power of leadership, collaboration, and culture to spark transformation. About Kwanza JonesKwanza Jones is on a mission to boost a billion lives through culture, community, and capital. She is a sought-after speaker, accomplished artist, impact investor, and philanthropist. With a multifaceted background spanning music, media, production, law, and business, Jones is an energetic and visionary leader. She is CEO and founder of SUPERCHARGED® by Kwanza Jones, a motivational media company. Jones has served on numerous boards, including The Apollo Theater, Bennett College, Susan G. Komen Breast Cancer, and Ronald Reagan UCLA Medical Center. Through the Kwanza Jones & José E. Feliciano Initiative, with José E. Feliciano, her partner in life and in business, they have personally committed over $200 million to education, entrepreneurship, equity, and empowerment organizations. To learn more, visit and connect with her on Instagram | LinkedIn | Facebook | X | Kwanza Jones Boost Friends™ Community. View original content to download multimedia: SOURCE SUPERCHARGED Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Los Angeles Times
an hour ago
- Los Angeles Times
Back in shark-laden waters, ‘Dangerous Animals' is a horror film with tired blood
Sean Byrne knows how to show an audience a bad time. Sixteen years ago, the Australian filmmaker launched onto the scene with 'The Loved Ones,' his proudly grisly debut about a misfit teenager who gets gruesome revenge on the boy who refused to go to prom with her. Part expert torture porn, part exploration of adolescent romantic anxieties, the film was an instant midnight-madness cult item that took Byrne six years to follow up. When he did, he went in a different tonal direction with 'The Devil's Candy,' a surprisingly emotional psychological thriller about a heavy-metal-loving painter who moves his family to a beautifully rustic home, only to lose his mind. Working in recognizable horror subgenres, Byrne entices you with a familiar premise and then slowly teases apart the tropes, leaving you unsettled but also invigorated by his inventiveness. It has now been a decade since that distinctive riff on 'The Shining,' and for Byrne's third feature, he once again pillages from indelible sources. 'Dangerous Animals' draws from both the serial-killer thriller and Hollywood's penchant for survival stories about hungry sharks feasting on human flesh. But unlike in the past, Byrne's new movie never waylays you with a surprise narrative wrinkle or unexpected thematic depth. He hasn't lost his knack for generating bad vibes, but this time he hasn't brought anything else to the party. The movie stars Hassie Harrison as Zephyr, a solitary surfer who explains in on-the-nose dialogue that she prefers the danger of open water to the unhappiness of life on land. An American in Australia who grew up in foster homes and who lives in a beat-up old van, Zephyr encounters Moses (Josh Heuston), a straitlaced nice guy whom she hooks up with. Not that she wants him developing feelings for her: She takes off in the middle of the night so she can catch some waves. Unfortunately, Zephyr is the one who gets caught — by Tucker (Jai Courtney), a deceptively gregarious boat captain who kidnaps her. Next thing she knows, she's chained up inside his vessel out at sea, alongside another female victim, Heather (Ella Newton). Like many a movie serial killer, Tucker isn't just interested in murdering his prey — he wants to make something artistic out of his butchery. And so he ties Heather to a crane and dangles her in the water like a giant lure, pulling out a camcorder to record her final moments as sharks devour her. Watching his victims struggle to stay alive is cinema to this twisted soul and Zephyr will be his next unwitting protagonist. Working from a script by visual artist Nick Lepard, Byrne (who wrote his two previous features) digs into the story's B-movie appeal. Tucker may use old-fashioned technology to record his kills, but 'Dangerous Animals' is set in the present, even if its trashy, drive-in essence would have made it better suited to come out 50 years ago as counterprogramming to 'Jaws.' With Zephyr's tough-girl demeanor and Tucker's creepy vibe, Byrne knowingly plays into genre clichés, setting up the inevitable showdown between the beauty and the beast. But despite that juicy setup, 'Dangerous Animals' is a disappointingly straightforward and ultimately underwhelming horror movie, offering little of the grim poetry of Byrne's previous work and far too much of the narrative predictability that in the past he astutely sidestepped. There are still subversive ideas — for one thing, this is a shark film with precious few sharks — but Byrne's sneaky smarts have largely abandoned him. Rather than transcending expectations, 'Dangerous Animals' surrenders to them. One can't fault Harrison, whose Zephyr spends much of the movie in a battle of wills with her captor. Because 'Dangerous Animals' limits the amount of sharks we see, digitally inserting footage of the deadly creatures into scenes, the story's central tension comes from Zephyr trying to free herself or get help before Tucker prepares his next nautical snuff film. Harrison projects a ferocious determination that's paired with an intense loathing for this condescending, demented misogynist. It's bad enough that Tucker wants to murder her — beforehand, he wants to bore her with shark trivia, dully advocating for these misunderstood animals. It's an underdeveloped joke: 'Dangerous Animals' is a nightmare about meeting the mansplainer from hell. Alas, Courtney's conception of the film's true dangerous animal is where the story truly runs aground. The actor's handsome, vaguely blank countenance is meant to suggest a burly, hunky everyman — the sort of person you'd never suspect or look twice at, which makes Tucker well-positioned to leave a trail of corpses in his path. But neither Byrne nor Courtney entirely gets their arms around this conventionally unhinged horror villain. 'Dangerous Animals' overly underlines its point that we shouldn't be afraid of sharks — it's the Tuckers who ought to keep us up at night — but Courtney never captures the unfathomable malice beneath the facial scruff. We root for Zephyr to escape Tucker's clutches not because he's evil but because he's a bit of a stiff. Even with those deficiencies, the film boasts a level of craft that keeps the story fleet, with Byrne relying on the dependable tension of a victim trapped at sea with her pursuer, sharks waiting in the waters surrounding her. Michael Yezerski's winkingly emphatic score juices every scare as the gore keeps ratcheting up — particularly during a moment when Zephyr finds an unexpected way to break out of handcuffs. But Byrne can't redeem the script's boneheaded plot twists, nor can he elevate the most potentially intriguing idea at its core. As Tucker peers into his viewfinder, getting off on his victims' screams as sharks sink their jaws into them, 'Dangerous Animals' hints at the fixation horror directors such as Byrne have for presenting us with unspeakable terrors, insisting we love the bloodshed as much as they do. Tucker tries to convince Zephyr that they're not all that different — they're both sharks, you see — but in truth, Byrne may be suggesting an uncomfortable kinship with his serial killer. But instead of provocatively pursuing that unholy bond, the director only finds chum.
UPI
3 hours ago
- UPI
Listen: Mariah Carey sings about her type in 'Type Dangerous'
June 6 (UPI) -- Mariah Carey released her first song of 2025 on Friday. The music icon, 56, dropped the single "Type Dangerous" and its official lyric video. "Said we'd be together, but you didn't stay forever," she sings. "Now I guess it's just whatever till the 12th of never. I've never been afraid of love. That's why I like 'em dangerous." The video shows the singer driving her car with wind in her hair. The song is set to appear on an upcoming album. "Type Dangerous" follows the release of the deluxe anniversary edition of The Emancipation of Mimi, which dropped May 30. The new version has 40 songs -- twice the number of tracks that appeared on the 2005 original. "So happy to celebrate this milestone anniversary with you all for an album that meant so much to me then, and means even more now," Carey said on Instagram. Mariah Carey turns 56: a look back Mariah Carey won Top Pop Artist at the Billboard Music Awards on December 3, 1991. Earlier that year, her album self-titled album topped the Billboard charts. Photo by Jim Ruymen/UPI | License Photo
