James Blake Shows Life’s Messiness (Thanks To Bird Poop) In ‘Can’t Believe The Way We Flow’

Start, stop. Start, stop. Start again, then pause the video when you see the cartoon. You’ll do that a lot watching James Blake‘s new video for “Can’t Believe The Way We Flow” from his fourth studio album Assume Form. It’s like a scrapbook of faces and places, gradually connecting together while bird poop rains from the sky and eggs get scrambled in pans. That’s a wild description, but that’s probably the easiest way to find sense in what’s being presented to viewers. Just keep playing and pausing the video at different points and you’ll see what we mean.

There’s a lot going on in “Can’t Believe The Way We Flow” that opens your eyes, but perhaps its most shocking initial move is to show us a shiny leather jumpsuit that looks like it’s straight out of a horror movie. James Blake, who’s in the video for no more than five seconds, makes a quiet first appearance, sitting on a bench, pondering the intricacies of the universe. He looks up to the sky and gets bird pooped drizzled on his brow like caramel sauce on french vanilla ice cream, and then we’re taken into this vast Rolodex of spaces and faces.

The leather jumpsuit worn by an unidentified elderly man, an exotic dancer lacing up her heels, lovers saying their goodbyes for the day in the doorway while one holds a cat – these scenes and more are snapshots of the energy that exists within the world. Like a storm, faces begin swirling and flying in front of the camera at blinding speeds as if propelled by wind, showing an entire community of people. We’re eventually shown faces coming together for kisses and other kinds of embraces. It’s energy connecting to synthesize new beginnings and it’s beautiful to watch. The bird poop manifests itself again at the end, quite possibly even grosser than before. But it’s all in the magically realistic world that Blake has prepared for us.

Assume Form came out in January. The LP features the previously released tunes “Barefoot In The Park,” with Rosalía, and “Mile High” with Travis Scott.

Take a look at James Blake’s “Can’t Believe The Way We Flow” video up above.

Post Malone Reflects On His Imaginary Wife’s Infidelity With An Irish Folk Song On Fallon

Last night, Post Malone joined Jimmy Fallon on The Tonight Show Starring Jimmy Fallon for a night of celebration and a brief interview about his upcoming Posty Fest. The high point of the night was a joint performance from the two as they gave a rousing, clapping rendition of  “Seven Drunken Nights,” an Irish folk song most famously performed and released by The Dubliners in 1967. Armed with a glass of beer, the rapper and host led the crowd in the hilarious number.

Post Malone took a sip from his cup to start things off as Fallon began his sad verse in a jovial tone. Fallon came home to find another man’s pipe in the place of his, confusing him. “I said to her/ ‘Will you kindly tell to me/ who owns the pipe up on the chair/ where my old pipe should be,'” he sung, signaling the gigantic clapping chorus from Post Malone and the band. “Oh you’re drunk, you’re drunk, You silly old fool/ Still you cannot see?,” they sing, before attempting to explain the pipe’s existence. Post Malone went next with a similar situation, finding the existence of another man’s boots where his should be, under his bed. And then after that, Fallon found another man’s head. They continue to drink, smile, and laugh at these potentially marriage-shattering discoveries as the audience joins in on the celebration.

Later, after a game of Beer Pong, Post Malone revealed that this year’s Posty Fest will take place on November 2 in Dallas, TX. While he didn’t announce any artists yet, it should be expected that it will be massive. Last year’s Posty Fest brought out both Travis Scott and Tyler, The Creator. In September, Post Malone will be heading out on tour with Swae Lee.

Watch Post Malone and Jimmy Fallon sing “Seven Drunken Nights” up above.

Ari Lennox Serves Sexy Looks Like Free Samples At The Mall In ‘BMO’ Video

Ari Lennox has released the highly-anticipated video for “BMO,” the hit song from debut studio album Shea Butter Baby. It’s every bit as sensual, artistic, and moisturized as you could ever imagine. Her tantalizing demeanor and wordplay combine with creative sets and wardrobe combinations to deliver one hell of an instance of sexy cinema. You won’t be able to get her fierce, icy glaze, from the comfort of her bathtub, out of your head.

Lennox serves looks like they’re free samples at your local mall. Whether it’s from her couch in a plush white jacket, rubbing her shoulders as more of her shining skin sneaks into view, or wearing a sinful red sash and lingerie in front of a crystallized wall, she practically melts your viewing screen in the process. These looks and the serving of them make up “BMO”‘s runtime. As the lip-biting number thumps in the background, Lennox sings the number in an amorous trance. You might want to open a window. She dons a furry orange peacoat and serenades a man on a couch who can’t even sit up straight because he’s so hooked on her scent, her beauty, and her sex appeal. This guy is us for the length of the runtime. When it’s over, you’ll have to look for your jaw on the floor. Hopefully, it didn’t scuttle off too far.

Lennox’s Shea Butter Baby came out in May. Last month, she appeared on both “Self Love” with Bas and Baby Rose and “Got Me” with Omen, Ty Dolla $ign, and Dreezy from Dreamville Records’ compilation album Revenge Of The Dreamers III.

Watch the sinfully sexy “BMO” video up above.

Björk Tattoos Alien Life Into Your Brain With Endlessly Haunting ‘Losss’ Video

Björk practically dares you to make sense of her wondrous and frightfully strange artistry. She’s released a video for “Losss” from her 2017 album, UtopiaDesigned for the multiple screen viewing of her Cornucopia theatrical live show, “Losss” is alien, alarming, symbiotic, skin-raising, creepy-crawly, trypophobic, and, above all things, stunning. It’s a one of a kind, immersive experience that exists on the fringes of reality and is hard to imagine that it takes place on this planet, let alone in the solar system.

It’s hard to describe “Losss” with words. There’s a darkness to it, somewhere between peaceful and nightmarish. Perhaps it’s on the bottom of the seafloor that remains undiscovered in some places, home to another world of life that isn’t meant to be seen by mortal eyes. Its piercing timbre melts into your ears as what we see on-screen crawls onto our skin. Two identical, symbiotic, otherworldly creatures push and pull in a tangle of each other’s strings, their faces mutating in bubbling white and red puffs. It’s disgusting but addictive and haunting to watch.

These faces change, but the words coming out do not. They’re singing “Losss”‘s soothing chants while nearly kissing each other. These faces grow fur on them and expand into vaguely human faces, before turning into wolven fur and pearls. They morph again into a mouth that looks like a cross between a butterfly and a fish. Eventually, the two creatures return to the initial forms that they took and float around each other before coming together for eternity.

In the bio for the video on YouTube, Björk elaborated on what the video about, but she didn’t give any specifics as to what it means. “We based it on the conversations between our inner optimist and pessimist, when I recorded this I tried to sing in a deeper tone for one of them and if you listen on headphones it will match the imagery.”

Watch the peculiar, mind-boggling, and simply indescribable video for ‘Losss’ up above.

Camila Cabello Says Her Upcoming Album Is ‘A Million Times better’ Than Her Last

Fans of Camila Cabello are desperate for more details about her upcoming album. Sure, her collaboration with Shawn Mendes on “Señorita” offered a taste of the sexy, sultry direction the singer might be going in, but Cabello’s lived a lot of life since the release of her 2018 self-titled debut. And thanks to her recent interview with Variety, it sounds like her personal transformation will be quite obvious on her next release.

“As a songwriter, I grew a lot,” Cabello told the outlet. “It’s a million times better than my first album.” And if you’re wondering why that might be, it probably has a little something to do with the former Fifth Harmony member’s decision to “say yes more” and not let her fears and anxieties get in the way of life-changing experiences. “I can be a little bit Miranda, but I’m trying to be Carrie in the sense that I love experiences,” she said, referencing Sex and the City. “I’m a romantic; I’m emotional. But I think through stuff a lot.” And while it would be easier for her to hide away inside her home, she seems thankful for the Camila who “takes the other Camila by the hand and just fucking drags her,” which is what’s been happening for the past couple years.

For Cabello, the two years since writing her debut album have been completely transformative, and that’s partially because she’s become more confident in herself and her songwriting ability. “Before, if I was unsure about something, I’d send it to everybody I knew,” she said. “And I’ve learned that when you’re unsure, that’s your time to really look inward and, as Oprah says, ‘get quiet.’ The answer is always waiting for you. But if it’s too loud in your head or you’re running around fucking flailing asking other people, you’re never gonna hear it.”

It also can’t hurt that she’s no longer writing songs about her “crushes from afar.” Instead, she’s been writing about actual real-life romances that she’s experienced firsthand — something she wasn’t fully able to do while writing the last one. “Falling in love is like an infinite amount of levels and layers and angles,” she said. “I fell in love and just opened up. Everything was written in present moment.”

And speaking of the “present moment,” fans would love to know more about what’s going on between Cabello and her “Señorita” collaborator — especially after the paparazzi photos that only continue to fuel rumors that they’re more than just friends. Unfortunately, she didn’t address any such rumors, but she did briefly mention working with Mendes, telling Variety, “I’ve known Shawn for such a long time, and it’s so much fun getting to work and do things with somebody who means a lot to you.” Here’s to hoping her new music will finally provide some answers.

Machine Gun Kelly And Yungblud Pay Homage To Mass Shooting Victims In Corden Performance

At the beginning of the universe, the Big Bang synthesized the building blocks of life from clouds of space dust that formed after a hyperdense singularity rapidly expanded and still does, to this day. Last night, a new universe was created with an explosive performance of “I Think I’m Okay” by Machine Gun Kelly and Yungblud on The Late Late Show with James Corden. Their energetic performance was wrapped up with a tribute to the recent mass shooting victims of El Paso, TX and Dayton, OH.

The stage of Corden might as well have been a forest because the feral energy of shirtless Machine Gun Kelly and the wolven Yungblud was unshackled, to say the least. Their performance of their hit collaboration was a blend of guitars that the two played along with the vicious energy of the supporting band. Machine Gun Kelly kicked over his microphone and the pair shared one, screaming into it with such intensity that if there were glass walls surrounding the stage, they would have shattered. As it ended, they flipped their guitars around to show “El Paso” on the back of Yungblud’s guitar and “Dayton” on the back of Machine Gun Kelly’s.

Machine Gun Kelly released his latest album Hotel Diablo last month. He will be heading out on tour in support of it in September with Young Thug, Killy, Polo G, and YBN Nahmir.

Watch Machine Gun Kelly and Yungblud’s explosive performance of “I Think I’m Okay” up above.

Don’t Underestimate The Importance Of Lil Nas X

By Rob LeDonne

Starting with its familiar banjo strums, now-iconic opening lines, sudden drop into trap, and baritone proclamation that, yes, he got those horses in the back, “Old Town Road” has now been stuck in America’s head long enough to break records. Lil Nas X‘s genre-bending opus has been the No. 1 song in the country for 18 weeks in a row (a chart milestone), and is so successful an anthem that it’s even given featured artist Billy Ray Cyrus an explosion of 2019 relevance. (Not even Nostradamus himself could have predicted that.) Keep in mind that the song’s impressiveness as an earworm isn’t just chart-related: “Old Town Road,” built from a Nine Inch Nails instrumental sample, also notably toes the line between country and rap, two disparate genres that, despite some successful one-offs in the past, often go together like kale and Krispy Kreme.

As if that weren’t enough of an anomaly, the song’s charismatic mastermind was only 19 when he bought the beat, wrote the lyrics, and released the track to virality. He also fancies calling himself a Black cowboy and happens to be attracted to, well, other boys. Yes, in our game of music Mad Libs about a commercially explosive country-rap song that samples a rock track from a Black, gay teen cowboy, it’s the gay adjective that stands out. It’s perhaps the smash’s most important and lasting quality, both to me personally and on a broader spectrum.

Overnight, gay teens — and Black ones in particular — suddenly have a role model in Lil Nas X, who announced his truth to the world during Pride weekend (becoming the first-ever artist to come out while having a No. 1 song, no less). And aside from your usual trove of internet haters (hi, haters!), he’s been met with a breezy reaction by mainstream culture, almost as if he said that, say, he favored In-N-Out burgers over Shake Shack. The artist himself even joked about it in a recent tweet that elicited over a million favorites: “Wow man last year i was sleeping on my sisters floor, had no money, struggling to get plays on my music, suffering from daily headaches, now i’m gay.”

When I was a pre-teen during the heyday of early 2000s idols like Eminem, Britney Spears, and NSYNC, hearing about the success of a song like “Old Town Road” would have been simply unfathomable (and not only because of the success of Billy Ray). Back in 2000 — a strange time that mostly consisted of praying that someone wouldn’t pick up the phone while you were surfing dial-up AOL — paramount to my shock would have been the idea of Lil Nas X himself. He was still a year away from even being born, but had he debuted then, he would have been an outlier in regard to mainstream music and pop culture’s virtues at the time.

Growing up slowly realizing my own truth about being gay, I have little-to-no memories of gay music culture (if you’d even call it that). Despite whispers about the sexuality of Ricky Martin, one of the era’s biggest chart-toppers, he didn’t publicly come out until 2010. Sure, there was also Elton John, but he certainly didn’t represent youth culture. Lest we forget about t.A.T.u and their ahead-of-their-time lesbian heartbreak anthem “All the Things She Said,” but the Russian duo behind it never became stateside celebrities or teen idols. There was also something about Lance Bass, but he literally announced he was going into space before coming out of the closet.

On the flip side, the popular artists who were talking about homosexuality were the ones downright disparaging it. In 2000, Eminem dropped one of the biggest (and Grammy-winning) rap albums of the year, The Marshall Mathers LP; that project includes “Criminal,” a track as openly homophobic as anything he’s ever recorded. Meanwhile, rap culture in general was full of such an extreme vitriol toward gay people that even Mike Pence would have approved, were he not (presumably) afraid of hip hop. While it may seem like 2000-era Eminem — who has since regretted using homophobic language — and 2019-era Lil Nas X not only live on entirely different planets but also in different universes, Eminem once had the same commercially successful platform that Lil Nas X currently enjoys. But the dichotomy between the 46-year-old rapper and this rising record breaker shows just how far culture has come in the past two decades: The oppressed are rising up and the oppressors slowly fading into the background, kind of like a gay version of the movie 300. (But let’s face it: The movie itself was already plenty homoerotic.)

While it was his absolute right to keep his sexuality to himself, Lil Nas X is instead providing a beacon of light for otherwise closeted teens seeking larger acceptance. Obviously, our culture today is more visibly awash with LGBTQ+ artists and anthems than it was in 1999, but it’s both Lil Nas X’s immense success and the reaction to his coming out that provides a clue about just how much progress the music industry in particular has made. Questions do still abound: Will we ever see him top the charts again or is he simply a flash in the (cultural) pan? Will his success influence an entire generation to be their true selves? Also, how long will Billy Ray Cyrus’s renewed cultural moment last? Regardless of the answers, it’s all a case for optimism moving forward. Get those horses out from the back and party, Lil Nas X. I tip my Gucci cowboy hat to you.

Lana Del Rey Was So Affected By Recent Mass Shootings, She Recorded A New Song

This past weekend, two mass shootings unfolded within 13 hours of each other: one at 10:39 a.m. at a Walmart in El Paso, Texas and another at 1:05 AM at Ned Peppers Bar in Dayton, Ohio. Lana Del Rey, who wrote on Instagram that the recent violence “really affected me on a cellular level,” has written a new song called “Looking for America” as a response to these mass shootings and the other 253 that have occurred this year. It’s not out yet, but the singer posted a video on Instagram on Monday night (August 5) showing her recording the song in the studio with producer Jack Antonoff.

In the two-minute clip, Lana and Antonoff sit opposite each other as she sings somberly about a country in need of improvements to its gun control. “I’m still looking for my own version of America / One without the gun, where the flag can freely fly,” she sings slowly. The accompanying caption explains her feelings behind the song. “Now I know I’m not a politician and I’m not trying to be so excuse me for having an opinion – but in light of all of the mass shootings and the back to back shootings in the last couple of days which really affected me on a cellular level I just wanted to post this video that our engineer Laura took 20 minutes ago,” she wrote. There’s no release date yet, but it would make sense for the song to drop very soon, given its timeliness.

Lana is preparing to release a new album, Norman Fucking Rockwell, also produced by Antonoff and set to come out on August 30. It features the previously released songs, “Mariners Apartment Complex,” “Venice Bitch,” “Hope Is a Dangerous Thing for a Woman Like Me to Have — But I Have It,” and her cover of Sublime’s “Doin’ Time.” She’ll be heading out on tour in support of the LP in September.

Watch Lana record “Looking for America” up above.

Drake Dropped A Care Package On Toronto With Surprise Performances From Cardi B, Megan Thee Stallion And More At OVO Fest 2019

Drake‘s OVO Festival was a firestorm of energy, as usual, when he performed his set on the second night of the event. The first night was for nostalgic purposes only when B2K, Ying Yang Twins, Mario, and more took the stage. The second was all about the realm of today. Drake brought out all the stops with surprise appearances from Cardi B, Megan Thee Stallion, and more. It was a legendary night for all involved.

There were so many guests that it’s hard to keep track of them. Cardi B and Megan Thee Stallion’s performances were hot enough to melt the metal holding the platform together. Megan Thee Stallion gave a magnetic performance of “Big Ole Freak” and “Cash Shit” with DaBaby who also made a surprise appearance. When it was Cardi’s turn to take the stage, Drake gave a warm intro that left the crowd guessing who would be coming on stage. “It’s only right that I exit the stage and leave you in the company of grace and greatness. Enjoy,” he said as he walked off, moments before Cardi’s chants of “PRESS” in all caps blared through the speakers. When she took the stage, she flung her shoes off to get comfortable before leading the sonic charge through a few of her biggest hits.

In addition to Megan Thee Stallion and Cardi B, Lil Baby, Rick Ross, YG, Tyga, Gucci Mane, Offset, and more took the fabled stage. Drake was clearly enjoying the epic night. His stage design featured a replica of the Toronto Raptors NBA Finals’ Championship trophy and he had fireworks exploding into the night sky. Drake himself belted out some of his most bombastic tunes, even throwing things back to the beginning of his career with a performance of his 2010 song, “Over.”

Watch Cardi B, Megan Thee Stallion, and more take the stage at OVO Fest up above.

Lana Del Rey’s Soft, Dreamy Voice Becomes A Ominous Nightmare Whisper In New Cover

Lana Del Rey loves a good cover. Her latest repurposing is Scottish singer Donovan’s 1966 song, “Season of the Witch” for the upcoming horror movie Scary Stories to Tell in the Dark. The full tune isn’t out just yet, but a snippet of it released with the new trailer for the film, giving listeners a preview of what it’ll sound like. From what has been presented to us so far, it sounds like a lot of ghoulish fun.

When you hear Lana’s voice, it’s like when your subconscious whispers into your head that you should wake up because you’re oversleeping. It’s soft and fuzzy, warm and sepia-like. That’s on display in “Season of the Witch,” but the brief snippet that we hear turns her dreamy voice into a calm whisper during a nightmare as it shakes and flattens. It’s eerie tranquility that blows through the speaker, like mist on top of a graveyard in the middle of the night. To hear the full version of “Season of the Witch,” make sure to see Scary Stories to Tell in the Dark when it comes out on August 9.

Lana recently covered Sublime’s “Doin Time” which will appear on her forthcoming album Norman Fucking Rockwell when it drops on August 30. This fall, she will be heading out on tour in support of the LP.

Watch the trailer for Scary Stories To Tell In The Dark up above and listen to Lana’s spooky cover.