Broken Social Scene Announces You Forgot It In People Tribute Album
Broken Social Scene have announced Anthems: A Celebration Of Broken Social Scene's You Forgot It In People, a front-to-back tribute record to their indie rock classic. The reworked edition of the 2002 LP is out June 6th and today, they've released 'Anthems For a Seventeen Year-Old Girl' as covered by Maggie Rogers and Sylvan Esso. Listen below.
Speaking to their cover of 'Anthems For a Seventeen Year-Old Girl,' Rogers said that the track 'changed [her] life.' 'There's something about the lyrical repetition that functions as a sort of mantra within the song and it made me understand at a very early point in my creative life that music could be a form of meditation.'
Rogers continued, 'Broken Social Scene has long been one of my all-time favorite bands and covering it with my dear friends Nick and Amelia from Sylvan Esso was an absolute joy beam dream.'
The tribute album will also feature covers by Hovvdy, Toro y Moi, The Weather Station, Mdou Moctar, SPIRIT OF THE BEEHIVE, and more.
A documentary about Broken Social Scene's early days, titled It's All Gonna Break, was released in 2024. That same year, I Saw the TV Glow also brought on yeule to cover 'Anthems For a Seventeen Year-Old Girl' for the film's soundtrack.
Album Cover:
Tracklist: 01. Capture The Flag (Ouri) 02. KC Accidental (Hovvdy) 03. Stars And Sons (Toro y Moi) 04. Almost Crimes (Miya Folick & Hand Habits) 05. Looks Just Like The Sun (The Weather Station) 06. Pacific Theme (Mdou Moctar) 07. Anthems For A Seventeen Year-Old Girl (Maggie Rogers & Sylvan Esso) 08. Cause = Time (Middle Kids) 09. Late Nineties Bedroom Rock For The Missionaries (Benny Sings) 10. Shampoo Suicide (SPIRIT OF THE BEEHIVE) 11. Lover's Spit (serpentwithfeet) 12. Ainda Sou Seu Moleque (Sessa) 13. Pitter Patter Goes My Heart (Babygirl)
Popular Posts
deadmau5 Apologizes for Blacking Out During Coachella Set
New Pornographers Drummer Joseph Seiders Charged with Child Pornography
The 100 Best Guitarists of All Time
Lady Gaga Battles Tech Issues at Coachella: "At Least You Know I Sing Live"
Beyoncé's "COWBOY CARTER TOUR" Set to Kick Off with Thousands of Seats Unsold
Keanu Reeves to Play Villain in Weezer Movie: Report
Subscribe to Consequence's email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Business Upturn
2 days ago
- Business Upturn
Green Box to Open 2026 Artist Residency Applications on September 2
Green Mountain Falls, Colorado, Aug. 15, 2025 (GLOBE NEWSWIRE) — Nestled beneath America's Mountain, Pikes Peak, Green Box invites artists from around the world to apply for its acclaimed 2026 Artist Residency Program, opening on September 2nd. Green Box, a premier and growing arts incubator, is known for transforming Colorado's Front Range into a creative destination, including hosting Colorado's first Skyspace by James Turrell and the regions first Skynet Art Installation by acclaimed Burning Man and Coachella artist, Patrick Shearn of Poetic Kinetics. Now entering its 18th year, the celebrated Annual Arts Festival continues to be a cornerstone of this vibrant arts hub. Interested artists have until September 30th, 2025, to submit their applications for the 2026 program. Due to overwhelming interest in the Artist Residency Program and a backlog of innovative, high-quality projects, Green Box will be selecting only a few residencies for 2026, making the process especially competitive. Green Box's Artist Residency Program offers artists spanning all artistic disciplines and career stages the opportunity to develop work while immersing themselves in the intimate community of Green Mountain Falls and the broader Pikes Peak region. The program has welcomed distinguished artists including American Ballet Theatre, Grammy Award-winning guitarist Bill Frisell, Pulitzer Prize-winning journalist Neena Pathak, and prominent furniture designer CoCo Ree Lemery. 'The artists and projects that have been developed through our artist in residency program have provided exemplary opportunities over the last few years,' says Green Box Executive Director Scott Levy. 'I couldn't be more excited to read, look and listen to the compelling applications we are sure to receive during this cycle.' In 2026, Green Box will exclusively be providing 3-4 new open project residency opportunities tailored to the unique proposals received during the application process. Residency deliverables will be determined in collaboration with selected artists. Community engagement is a core component of both the application and residency experience, reflecting Green Box's commitment to fostering meaningful connections between visiting artists and the Green Mountain Falls community. Application Information Green Box welcomes submissions from artists around the globe. The application deadline is Tuesday, September 30, 2025, and only completed applications will be considered. There is no application fee. Applicants should note that personal transportation is essential for daily life in Green Mountain Falls; artists may bring their own vehicle or arrange a rental. Selected artists will stay at The Shed, Green Box's purpose-built artist housing. Each unit includes a Smart TV, high-speed Wi-Fi, and landline telephone, along with 24/7 access to studio space and laundry facilities. Communal amenities feature an outdoor fire pit, barbecue grill, and hot tub. Weekly housekeeping services are provided. All resident artists receive financial support through a Green Box provided stipend. Individual Artists: $9,000 Duo Residencies: $12,000 Trio or Larger Ensemble Residencies: $15,000 Application Submission Applications must be completed online at where full details and the direct application link can be found in the Programs – Artists in Residence section. Questions may be directed to [email protected]. Disclaimer: The above press release comes to you under an arrangement with GlobeNewswire. Business Upturn takes no editorial responsibility for the same. Ahmedabad Plane Crash
Los Angeles Times
2 days ago
- Los Angeles Times
After pandemic debut, ENHYPEN sheds ‘boy band' image ahead of BMO Stadium show
Imagine if almost every moment in your life was documented: the good, the bad, the funny, the embarrassing and even the most heartbreaking. For the K-pop superstar group ENHYPEN, they don't need to imagine it. It has been a part of their lives since they were teenagers, when they participated in the Korean competition series 'I-LAND' in 2020. Premiering at the height of BTS mania, in which BTS made an appearance, the series was a joint venture between multinational entertainment companies CJ Entertainment and HYBE. It was a global success, with worldwide online viewership of over 20 million across 12 episodes, and participation from over 178 countries in the vote casting. Every part of the contestants' lives was documented as they lived and trained at the compound, with every fan-favorite moment turned into fan edits and memes. Even after the series concluded, it didn't take long for the group to debut and return to the public eye. Within two months, ENHYPEN — comprised of Jungwon, Heeseung, Jay, Jake, Sunghoon, Sunoo and Ni-Ki — released their first EP, 'Border: Day One.' Since then, the group's meteoric rise has been nonstop: They've released 11 albums (five of which have placed in the Billboard 200 Top 10), performed at this year's Coachella Valley Music and Arts Festival and accomplished two world tours. The group is currently on its third international jaunt, the 'Walk the Line' world tour, and is set to perform Saturday at BMO Stadium in Los Angeles. It's hard to believe it has only been five years since they debuted. Now nearly in their early 20s, the group's members are trying to prove that they're no longer the boys they once were at the start of their careers. With their latest album release, 'Desire: Unleash,' they want to show ENGENEs — the name for their fandom — how much they've grown as artists and as people. Their recent Coachella set showcased a more edgy side to their performance, one that they had arranged themselves. 'One of the most impressive moments in our growth journey was Coachella,' says Heeseung. 'When I think back to when we just debuted, I don't think we were even boys. We were almost babies. We began this journey with such young members, and we've made it all the way here. We grew physically, but throughout this journey, we also grew mentally, and that has helped us show the best side of ourselves.' Growing up in the public eye was not easy for the group, whose youngest member, Ni-Ki, was 14 years old during the competition. They had to adapt to their new lifestyle quickly, but felt fortunate to be surrounded by a good team and staff that made it easier. Though Ni-Ki is aware his childhood was not the norm, he says he received a lot of mental stimulation that helped him develop into the person he is now. 'Because I started in this scene from a young age, I had to go through many changes,' Ni-Ki explains. 'For example, my personality underwent many changes, and I realized many different things because I was in a good environment for that to happen.' Sunoo admits they were a little immature and clumsy during 'I-LAND' and even during their debut, but it was really who they were at the time. What has been depicted through the show, behind-the-scenes footage and their social media is who they are. 'Now that I think about it, we showed almost everything,' Sunoo admits. 'During the show, we were showing the very raw version of ourselves. I think our fans did love those sides of us as well. As we grew, they got to love us even more.' Leader Jungwon believes that having everything on social media helped the group's popularity as they debuted during the COVID-19 pandemic. Since they couldn't meet their fans offline, they relied on social media to connect with them. He says, 'There are clear pros and cons of being in this [digital] era. Before we debuted and appeared on 'I-LAND,' social media was already widespread, making it easy for things about us to go viral.' Dr. Hye Jin Lee, a K-pop scholar and clinical assistant professor at the USC Annenberg School for Communication and Journalism, notes that social media may have helped ENHYPEN grow further, as social media usage reached an all-time high during the pandemic. TikTok users soared around that time, providing another platform for the group to increase its visibility and share its music through short-form content. With over 30 million fans on TikTok, the group follows viral trends and dance challenges, as well as schedules livestreams on both TikTok and its company's official app, Weverse. 'ENHYPEN had to rely on digital media to meet and interact with fans due to debuting at a time when in-person performances weren't possible,' Lee explains. 'That has allowed them to build strong connections with their fans. That's why they're more prolific on social media. They post on Weverse daily and are very active on TikTok.' ENHYPEN is conscious of its public image and the constant surveillance by its fans through the group's media and livestream appearances. At first, they were cautious of the image they wanted to project. However, over time, they realized it was better just to be themselves. 'These days, I want to show who I am and the natural side of myself,' says Sunghoon. 'Going forward, as I age, the perception that I would like to have would change as well. As you get older, the way you think also changes. But, at the moment and present, I just want to be who I am in front of other people.' Fans noticed these changes, as the members have begun to express their opinions and boundaries openly. Jungwon recently admitted during an interview that he felt he was too young when he first performed their the group's song 'Fever.' Jake began opening up about the pressures he felt throughout his career. Sunoo, who was given the nickname 'Ddeonu' for his cute expressions, has started to turn down doing cute poses during interviews and livestreams. 'I don't think being cute all the time is very suitable for who I am at this moment,' Sunoo shares. 'Our fans still would love to see me being cute and adorable, so I don't think I can do away with it completely. So when they want to see that side of me, I go ahead, but I don't go out of my way to do it when there isn't any request. That's the kind of balance I'm trying to strike at this moment.' Jay has taken it a step further, going on the group's official livestream channels to offer advice to ENGENEs who are struggling or seeking guidance. He adds his own life experiences to his words of comfort and advice, opening up another side to the serious artist. 'Being in this career for the past five years, I've come to realize that it's really impossible to make things up,' he said. 'I believe that one side that we can truly show to people is when we're true to ourselves. Whenever I do something or think about something, I try to be sincere and honest about my feelings and no longer make things just because I want to be seen in a certain way or leave a certain kind of impression.' Fans have looked out for the group's best interests, including commenting on the members' hectic schedule. As one of the most in-demand groups in the industry, with several comebacks, tours, fashion shows, press days, variety shows, brand ambassadorships and writing/producing music, ENHYPEN's members knows what they've signed up for in becoming a K-pop artist. 'It's very heartwarming that our fans are very concerned about our health, but I want to say that the very core of everything that we do is coming from our passion,' says Jake. 'No one is telling us to do this. We want to do this. We chose this for ourselves. Going back to that thought helps us stay grounded and motivated.' Although they cherish the 'I-LAND' and debut memories of the past five years, they are looking ahead to the group's future in 2025. Jay says this year marks a significant turning point in their careers, highlighted by Coachella, 'Desire: Unleash' and the 'Walk the Line' world tour. 'This is a consistent flow,' says Jay. 'It's going to be this momentum that will bring us to our next step as ENHYPEN. We will use this as a beginning to venture out into many more fields ahead.' Sunghoon is looking forward to making it to a decade with the group, curious about how that will look for them together and individually. 'I'm sure ENHYPEN will be together, but I think we'll be more active in pursuing our individual pursuits,' he said. 'I'm curious to find out what that will look like and how much more we will have grown [by then]. When we work as individuals, we work hard, and when we get together again, we will work amazingly as a team.'
Los Angeles Times
2 days ago
- Los Angeles Times
Why Rüfüs Du Sol's Rose Bowl concert marks the peak of the band's L.A. journey
In a Burbank rehearsal studio, loaded almost wall-to-wall with electronics and travel cases, the three musicians of Rüfüs Du Sol are in the final hours of rehearsal for the biggest tour of their lives. As they run through a variety of songs on synthesizers and acoustic drums, the main question still to be answered is just how much of themselves to give. It's a rainy day back in March, as the Australian trio work through different live sets for different situations — festivals, arenas, large amphitheaters and, most significantly, their own slate of stadium headline shows. For the latter, Rüfüs Du Sol is prepared with a super-sized set list that singer-keyboardist Tyrone Lindqvist calls 'the Behemoth,' and drummer James Hunt describes as 'the Beast, the Hulk.' 'We've had so much love from our fans and consistent people coming to the shows,' says Lindqvist, blond and dressed in black behind his synth station. 'Our show sits at two hours and 10 minutes in this demoed version, and we're like, is this too long? At what point are we doing too much? Sometimes less is more, and finding that sweet spot is a little tricky. 'You're grappling with the extreme love that you have from people and trying to find the balance.' The Australian band is not new at this. The last time Rüfüs Du Sol headlined in Los Angeles, the band played three sold-out nights at the 22,000-capacity Banc of California Stadium in 2021. Now, they're headed to the Rose Bowl this Saturday, capping off the North American leg of their 2025 tour in support of the band's latest album, 'Inhale / Exhale.' With keyboardist Jon George, they are three stylish men in black who founded their alternative electronic dance music, or EDM, trio in Sydney, Australia, back in 2010 and have since taken their music to major venues around the world. The Rose Bowl show in Pasadena will be their biggest headline show ever, with close to 60,000 fans. In concert terms, Rüfüs Du Sol has become one of the top-selling EDM acts in the world. The trio also fits in easily at both major dance events and at multi-genre festivals like Coachella and this year's Lollapalooza. Rüfüs Du Sol always identifies itself as a live EDM act, which is an important distinction to the band, reflecting its own history and the influences that have led it here. Among those inspirations is the Chemical Brothers, who mixed samples with live synths and other instruments to lead the 'Big Beat' EDM movement beginning in the mid-1990s. 'Our show is a spectacle. It's a live experience and there's humanity in it. There's human error. From night to night, the performance might be slightly different,' says Hunt. 'The interaction of technology with humanity has always been at the heart of the project.' 'Inhale / Exhale,' released last October, reached No. 2 on the Billboard dance music album chart. Its festive first single, 'Music is Better,' was meant as a kind of throwback to an early 2000s House sound. And 'Lately' was written in Ibiza and informed by Hunt and George's sideline performing DJ sets under the Rüfüs Du Sol name, mingling subtle drama with gospel house vocals. It was among the first songs to emerge from the new album's writing sessions. The band's last album, 'Surrender,' won a Grammy in 2022 for best dance/electronic recording for the single 'Alive.' The band is three studio albums into an ongoing relationship with Warner Records (along with several remix collections). The trio was signed to the label by Jeff Sosnow, executive vice president of A&R, and he was again marveling at their massive crowds at two July stadium dates in New Jersey. 'I looked around and I'm watching 25,000 people a night singing every word to every song in a rapturous manner,' says Sosnow. 'These are people who have bought in and they are quite passionate.' Sosnow sees potential growth still ahead for the trio, as an EDM act that incorporates some traditional songwriting structures into its dynamic electronic mix. 'They love what they do, and they are as accomplished producers as I've been around,' he adds. 'They are meticulous record makers and very hard self-critics and visionaries in their own ecosystem. They're going to probably find ways to challenge themselves, like many great artists and groups have done. They're not resting on their laurels.' When the 2025 shows began quickly selling out, band members were almost too busy finishing their album to enjoy the experience. 'I didn't think about it, I'll be honest,' says Lindqvist with a smile. 'We're pretty all-consumed in the thing that we're doing at the time. Like, right now it's the live show. But around that point, it was about finishing the album.' The band's trajectory as a live act passing through Los Angeles began with its first appearance at Echoplex in 2014, followed by the Fonda that same year, three nights at the Wiltern in 2016, three shows at the Shrine Expo Hall in 2018 — playing to 3,000 people a night — and then a headline show for 21,000 at Los Angeles State Historic Park in 2019. 'We've built this thing very incrementally, gradually,' says Hunt. 'I think that is a really cool thing to have developed, because then there are people who have listened to our music for like 10 years or have gotten married to it or have grieved a friend to it. They've had all these life experiences. It seems to be very meaningful.' The Australian trio's connection to Los Angeles runs even deeper. As they had done in other cities before — setting themselves up for a time in a house in Surrey, England, and then in Berlin — Rüfüs Du Sol spent years of quality time in L.A. after relocating to a mid-century house in Venice. Attached to the home was a garage converted into a professional recording studio, and it's where the band recorded the 2018 album 'Solace.' They remained in that house for a few years, and created a new record label named for their Venice neighborhood street: Rose Avenue Records. 'It was really good,' says Hunt of the setup. 'We could be playing drums at 6 in the morning and no one could hear it.' During that time, the trio also immersed itself in the local culture of Venice. 'It's a hub of so many artists and creatives that it had an exciting energy to it,' says Lindqvist. 'We didn't have many responsibilities outside of the band, so we moved over and it was a really cool experience.' By the time Rüfüs Du Sol got to work on what would become 'Inhale / Exhale,' the members' personal lives had gone through some major changes. They had already given up alcohol together, and now lean into a wellness lifestyle. Then Lindqvist moved to North San Diego County with his wife and young child, while Hunt and George relocated to Miami. That meant their new album was the first to be written and recorded while band members no longer resided in the same city. To reconnect creatively, the trio took several writing trips together for two weeks at a time, traveling to Austin, Texas, L.A. and Ibiza to compose new material. 'There was also an air of uncertainty at the start because we'd never done it before,' says Lindqvist. 'I was definitely nervous and you didn't know how a new record was going to come about being separate, but we obviously love making music, we love working with each other. Those two-week blocks really made it happen.' At the same time that band members scattered to different cities, they also began therapy as a group, at the suggestion of their manager. The 2004 Metallica documentary 'Some Kind of Monster' famously depicts a band struggling through therapy together, with scenes of arguments, slammed doors and much gnashing of teeth, but things were far less dramatic for Rüfüs Du Sol. 'We definitely weren't like that,' George says with a smile. 'We've been able to use it in a really cool way for ourselves to be able to just open up lines of communication and learn better practices. It's an ongoing thing for me personally and for us as a band.' Lindqvist adds, 'We'd been in a band for a lot of years, so there's been a cumulative amount of change and growth between each of us and ruptures and maybe a lack of repairs and resentments that were probably there. We all were aware that there was enough to talk about and work through.' An important step in finalizing the new album came late in the process, when the band gathered with friends and team members for a listening session at Open, the breathing, yoga and meditation studio in Venice. Guests heard the band's newest work-in-progress while wearing blindfolds. From that experience came the album's title, and the sequencing that had the album open with the ethereal, percolating track 'Inhale,' and then close with the hopeful, romantic 'Exhale.' 'Sharing those things is always vulnerable, especially when it's beyond your immediate friends,' says Hunt of revealing new music for the first time. 'So that was a really cool experience for us to hear some of these ideas almost for the first time again.' Five months after rehearsals in Burbank, Hunt and Lindqvist are on a video call from their hotel in Toronto. The band is just days away from a headline performance at Lollapalooza in Chicago, while the Rose Bowl is still looming and just a couple of weeks after that. The 'behemoth' set list has been fine-tuned since the first weeks of the tour. They are ready for Pasadena. Still, playing to ever bigger audiences has been exciting but can also be disorienting. 'Past a certain point, it's kind of hard to fully grasp how many thousands of people difference it is, at least for me,' says Hunt. 'When it comes to the showtime, there is that pressure because there's 20,000 to 30,000 people per night, which we thrive on.' For Lindqvist, the experience is both a natural step for a popular EDM act, and is unimaginably far beyond the band's beginnings in Sydney, when their goal was only to play the 500-capacity local underground venue Oxford Art Factory. 'We'd seen a lot of bands there, so playing there was like the dream,' the singer says wistfully of those early days. 'And then it kept growing. It's definitely surpassed what we had ever imagined.'
