Wednesday Announce New Album 'Bleeds'
Wednesday announce their anticipated new album, Bleeds, due 19th September via Dead Oceans. With Bleeds Wednesday present an intoxicating collection of narrative-heavy Southern rock that—like many of the most arresting passages from the North Carolina band's discography—thoughtfully explores the vivid link between curiosity and confession.
Bleeds i s a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman —founder, frontwoman, and primary lyricist—credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. 'Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential 'Wednesday Creek Rock' album,' Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. 'This is what Wednesday songs are supposed to sound like,' she said. 'We've devoted a lot of our lives to figuring this out—and I feel like we did.' 'Wound Up Here (By Holdin On),' released today alongside a video by Joriel Cura, is a perfect example of this alchemy.
"This song is inspired by a story my friend told me, from when he had to pull a body out of a creek in West Virginia. Someone had drowned but they took a few days to resurface because of the current,' Hartzman explains. ''I wound up here by holdin on' is a line from my friend Evan Gray's poetry book: Thickets Swamped in a Fence-Coated Briars. He gave me and Jake a copy of it to read on tour once and that line stuck out to me as pure genius so I stole it and wrote the rest of the song in my own words around it."
Last month the band shared 'Elderberry Wine,' a twangy and timeless new single, to wide critical praise that included being named 'Best New Track' by Pitchfork, one of 'The Best Songs of 2025 So Far' by TIME Magazine and praised by The Guardian in their playlist as a 'pedal-steel-sweetened heartwarmer'. The band performed the track and made their television debut on The Late Show with Stephen Colbert upon its release.
Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates— Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake 'MJ' Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection.
BLEEDS TRACKLISTING:
1. Reality TV Argument Bleeds
2. Townies
3. Wound Up Here (By Holdin On)
4. Elderberry Wine
5. Phish Pepsi
6. Candy Breath
7. The Way Love Goes
8. Pick Up That Knife
9. Wasp
10. Bitter Everyday
11. Carolina Murder Suicide
12. Gary's II
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9 hours ago
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Wednesday Announce New Album 'Bleeds'
Wednesday announce their anticipated new album, Bleeds, due 19th September via Dead Oceans. With Bleeds Wednesday present an intoxicating collection of narrative-heavy Southern rock that—like many of the most arresting passages from the North Carolina band's discography—thoughtfully explores the vivid link between curiosity and confession. Bleeds i s a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman —founder, frontwoman, and primary lyricist—credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. 'Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential 'Wednesday Creek Rock' album,' Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. 'This is what Wednesday songs are supposed to sound like,' she said. 'We've devoted a lot of our lives to figuring this out—and I feel like we did.' 'Wound Up Here (By Holdin On),' released today alongside a video by Joriel Cura, is a perfect example of this alchemy. "This song is inspired by a story my friend told me, from when he had to pull a body out of a creek in West Virginia. Someone had drowned but they took a few days to resurface because of the current,' Hartzman explains. ''I wound up here by holdin on' is a line from my friend Evan Gray's poetry book: Thickets Swamped in a Fence-Coated Briars. He gave me and Jake a copy of it to read on tour once and that line stuck out to me as pure genius so I stole it and wrote the rest of the song in my own words around it." Last month the band shared 'Elderberry Wine,' a twangy and timeless new single, to wide critical praise that included being named 'Best New Track' by Pitchfork, one of 'The Best Songs of 2025 So Far' by TIME Magazine and praised by The Guardian in their playlist as a 'pedal-steel-sweetened heartwarmer'. The band performed the track and made their television debut on The Late Show with Stephen Colbert upon its release. Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates— Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake 'MJ' Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. BLEEDS TRACKLISTING: 1. Reality TV Argument Bleeds 2. Townies 3. Wound Up Here (By Holdin On) 4. Elderberry Wine 5. Phish Pepsi 6. Candy Breath 7. The Way Love Goes 8. Pick Up That Knife 9. Wasp 10. Bitter Everyday 11. Carolina Murder Suicide 12. Gary's II
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UK Post-Punks SHAME Announce New Album Cutthroat
Shame have announced their return with new album Cutthroat, out 5th September 2025 via Dead Oceans, and have shared the thrilling new video for the album's title track, directed by, featuring the band performing within a motorcycle wall of death. Cutthroat is Shame at their blistering best; an unapologetic new album made with Grammy winning producer John Congleton at the helm. 'It's about the cowards, the cunts, the hypocrites,' says vocalist Charlie Steen. 'Let's face it, there's a lot of them around right now.' Still in their twenties and having proved themselves several times over via legendary live shows and three critically-acclaimed albums, the five childhood friends - Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist Josh Finerty and drummer Charlie Forbes - went into Cutthroat ready to create a new Ground Zero. 'This is about who we are,' says Steen. 'Our live shows aren't performance art - they're direct, confrontational and raw. That's always been the root of us. We live in crazy times. But it's not about 'Poor me.' It's about 'Fuck you'.' Crucial to this incendiary new outlook was producer John Congleton (St. Vincent, Angel Olsen). From their initial meeting, Congleton's no-bullshit approach became a guiding force to streamline the band's ideas. Stamped throughout with Shame's trademark sense of humour, the album takes on the big issues of today and gleefully toys with them. With Trump in the Whitehouse and Shame holed up in Salvation Studios in Brighton, they cast a merciless eye on themes of conflict and corruption; hunger and desire; lust, envy and the omnipresent shadow of cowardice. Musically, too, the record plays with visceral new ideas. Making electronic music on tour for fun, Coyle-Smith had previously seen the loops he was crafting as a separate entity to the things he wrote for Shame. Then, he realised, maybe they didn't have to be. 'This time, anything could go if it sounded good and you got it right,' he says. Cutthroat's first single and title track takes this idea and runs with it into, quite possibly, the best song Shame have ever laid to tape. It's a ball of barely-contained attitude packed into three minutes of indie dancefloor hedonism. It also masterfully introduces the lyrical outlook of the record: one where cocksure arrogance and deep insecurity are two sides of the same coin. 'I was reading a lot of Oscar Wilde plays where everything was about paradox,' Steen explains. 'In 'Cutthroat', it's that whole idea from Lady Windermere's Fan, 'Life's far too important to be taken seriously'.' This cheeky self-awareness, too, is important. As much as Shame want to burst the bubbles of bluster and ego, encouraging us to look in the mirror and ask ourselves, 'He who casts the first stone…', they also understand that, at its heart, life is often ridiculous. The result is an album that revels in the idiosyncrasies of life, raising an eyebrow and asking the ugly questions that so often get tactfully brushed over. But the one answer that Cutthroat gives with a resounding flourish is that, right now, Shame have never sounded better.
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JAMIE XX Announces 10th Anniversary Edition Of In Colour Album
To celebrate the 10th anniversary of In Colour - Jamie xx 's landmark 2015 debut album - the London-based music, producer and DJ today announces a limited-edition picture disc version of the LP. Featuring the album's iconic artwork directly on the vinyl, the In Colour 10th Anniversary Edition is available to pre-order now here and will ship on 14th November via Young. Originally released on 29th May 2015, In Colour quickly established itself as a modern classic - a kaleidoscopic journey through UK dance culture that continues to resonate with fans and critics alike. It received widespread acclaim upon its release: Pitchfork awarded it Best New Music, hailing it as 'a dazzling and deeply emotive record that reimagines the club as a space of memory, euphoria, and introspection.' Rolling Stone praised its 'masterful blending of genres and eras,' Mixmag crowned it their best album of 2015, while NME called it 'a modern masterpiece.' The album appeared on countless more year-end and decade-end best-of lists, cementing its status as one of the most important electronic releases of the 2010s. Featuring standout tracks like ' Loud Places ' (featuring Romy), ' Gosh,' (with its epic Romain Gavras-directed music video) and ' I Know There's Gonna Be (Good Times) '(featuring Young Thug and Popcaan), In Colour struck a rare balance between underground credibility and crossover appeal. It earned Jamie xx multiple GRAMMY, Brit and Ivor Novello Award nominations alongside a shortlist for the 2016 Mercury Music Prize. A decade later, In Colour endures not only for its production brilliance but also for the emotional depth it brought to the dancefloor – a record that transformed a personal love letter to UK club culture into a global, generation-defining statement. To mark the anniversary, Jamie joined BBC 6Music 's Nick Grimshaw yesterday for a special 10 Years Of In Colour show and a wide-ranging new interview that covered the inception, making of and response to In Colour. The BBC have also shared an exclusive Jamie xx Archive Collection of interviews and sessions from over the years, which are available to watch and listen back to here Meanwhile, Jamie xx's hotly-anticipated follow-up album In Waves was released on 20th September 2024 via Young, debuting at number 5 in the UK albums chart. It features an incredible list of collaborators including Honey Dijon, John Glacier, Panda Bear, The Avalanches, Robyn, Oona Doherty and his The xx bandmates Oliver Sim and Romy, reunited as a trio on record for the first time since 2017's I See You album. In a run of rapturous reviews, the album was described by NME as 'immaculate', Clash as 'a masterpiece' and Rolling Stone UK as 'an album that reaches for – and achieves – pure euphoria'. Arriving nine years on In Colour, the album sees Jamie replicating the emotional crescendos and thrilling volatility of an almost mystical night out. Created over a four-year period ushered in by his much-loved 2020 Essential Mix, and peppered with periods of self-reflection, a global pandemic, the blinking reemergence into the strobe light, and a newly discovered love of surfing-as-escapism, it's an album that's on course to match the heights of its globally-acclaimed predecessor.
