Brainchild of fashionably iconoclastic wedded couple Angela Gail and Jeffrey Jacob, In The Valley Below have been releasing emotionally adventurous and very modern rock for the better part of a decade; in 2016 they even got a taste of major label success, with a Top 20 Alternative radio hit and a deal with Capitol Records. Shortly after that, and the corresponding years of constant touring, the couple decamped from LA to the mellower, but no less creatively fertile environs of Grand Rapids, Michigan, where, perhaps, the decrease in external stimuli resulted in their most ambitious project to date: a film and musical accompaniment, and daring new live show. The Pink Chateau actually started as a typical album project, but when the idea to also produce a full-length film around it was broached, the duo found themselves going down a rabbit hole of creative overload
Paul Anthony Smith, Untitled, 2018-19, unique picotage on inkjet print mounted on museum board, 40 x 60 inches, courtesy of the artist and the Jack Shainman Gallery, New York The 31-year-old Brooklyn-based artist Paul Anthony Smith is definitely hot. He has recently had a short article in the “Metropolitan” section of The New York Times and a profile in T Magazine. And he currently has a striking solo exhibition at both of the Jack Shainman Chelsea galleries, one at 513 West 20 th Street and a second at 524 West 24 th Street
Image by Adam Holicska Perhaps the most renowned architect of her generation, Zaha Hadid left this world suddenly in March of 2016, suffering a serious heart attack at just 65 years of age. As her influence very much carries on, this year’s Milan Design Week (April 9 – 14) finds the ME Milan Il Duca hotel organizing a tribute exhibition to the late “Queen of the Curve.” Working in cooperation with her firm Zaha Hadid Design , they have curated select design pieces from her illustrious career, whose high-profile manufacturers have included the estimable likes of B&B Italia, Cassina ZH, Royal Thai, Citco, Lalique, and her own ZHD Collection
We fell hard for Marina of Marina & The Diamonds all the way back in 2010, during a particularly riveting performance at the Edinburgh Assembly Rooms. Three albums later, she has been truncated to simply Marina , and is preparing to release a fourth long player, the dual-conceptual and unambiguously titled Love + Fear (out April 26 via Atlantic).
True Anglophiles will always have a soft spot for a certain manner of lush, enigmatic guitar pop – the sort that labels like Postcard and Creation made a veritable manifesto of. To wit, London’s stylishly named new trio whenyoung , who are actually from Ireland – and indeed, their music does have a certain sonic quality that might conjure a vast, windswept Irish valley.
It’s a bit of a cliche that feminism has particularly struggled along in Italy, perhaps due to the unusual sociology of family, in a country that is notable for both innovation, as well as holding fast to tradition. A new exhibition presented by Dior at the FM Center for Contemporary Art in Milan, however, makes good work of pinpointing a pivotal moment in Italia’s history of women’s advancement. Edifyingly titled The Unexpected Subject.1978 Art and Feminism in Italy , it examines how artistic boldness contributed to the feminist cause, specifically, of course, 1978.
As the “experimental wing” of contemporary music finds itself inching ever further towards the cultural margins, the glorious anomaly that is Emily Wells somehow manages to continue to enrapture bigger and bigger audiences with each passing year. The American singer-composer-multi-instrumentalist (described by The New Yorker as having “a boundless imagination), has just released her 10th studio album, intriguingly named This World Is Too _____ For You , which pulls no punches in regards to the intensity of its socio-political, yet very human, observations. To wit, the acerbically titled “Come on Doom, Let’s Party” – a haunted, Teutonic dirge, which finds her doomfully chanting, “Let’s get it over.” The psychedelic-baroque “Eulogy For the Lucky” chillingly finishes the thought: “No personal Jesus / Gonna save us.” Above all, Wells stunningly exhibits the startling scope of her instrumental acumen and aesthetic reach.
Image by Justin Gilbert Despite sneaking in a bit under the radar, Emily Vaughn ‘s “Dead 2 Me” single and video, released last month, clearly signaled a star in the making. Indeed, FADER said it, “makes dumping your BF or GF sound like the kindest, most uplifting thing you can do.” And in anticipation of her upcoming debut EP Bitch Bops (subtlety is for suckers), today BlackBook premieres here the follow up single “Pieces.” Notably, it kicks things up a bit musically: a couple of minutes in, it abandons its sultry, languid grooves for retro, hi-NRG synth-disco, the likes of which would surely make even the Pet Shop Boys proud.
Despite sneaking in a bit under the radar, Emily Vaughn’s “Dead 2 Me” single and video, released last month, clearly signaled a star in the making. Indeed, FADER said it, “makes dumping your BF or GF sound like the kindest, most uplifting thing you can do.” And in anticipation of her upcoming debut EP Bitch Bops (subtlety is for suckers), today BlackBook premieres here the follow up single “Pieces.” Notably, it kicks things up a bit musically: a couple of minutes in, it abandons its sultry, languid grooves for retro, hi-NRG synth-disco, the likes of which would surely make even the Pet Shop Boys proud.
If you’ve obsessed on Charlotte Gainsbourg ‘s career as have we, you’d surely hardly ever be surprised to find her conceptualizing in the most exquisite and rarefied of ways. And indeed, her brilliant 2017 album Rest (NPR called it “a testament to the power of immaculate, effortless-sounding pop songcraft” – and her synth poppy single “Such a Remarkable Day” was one of BlackBook ‘s 2018 faves) will be getting a beautiful, contemplative and very limited edition companion book, released this March 25 via Classsic and Because Music