Coral Grief‘s debut album, Air Between Us, isn’t quite shoegaze, and it isn’t quite dream pop, but it’s somehow both at the same time…and it’s lovely.
Opening track “Starboard” is a rush of fuzzy guitars from Sam Fason and dreamy vocals from Lena Farr-Morrissey. “Rockhounds” is a much-needed song in this day and age, as it’s about finding beauty in the simplest things (like rocks along a beach). The title track floats around, over, and below you much like the cover image. “Latitude” has the band taking its time over the next four minutes to consider how we all need to change perspective now and then (“I go behind the door to change my mind.” – a quote from Fason’s grandmother).
“Avenue You” is a song about missing childhood places that no longer exist. Cam Hancock‘s drumming almost breaks into full-on rock mode at times on it, but he keeps it subtle as Fason’s guitar echoes around his bandmates. “The Landfall” is lovely and light. “Paint By Number” is led by Hancock’s snappy drums, with Fason’s jangly guitar having a fun time keeping up with him as Farr-Morrissey brings light to gray skies with her happy bass and optimistic vocals.
“Mutual Wish” reminds me of some of The Beths‘ dreamier cuts, and “Outback” almost has a goth tinge to it, but it never becomes maudlin. “Late Bloomer” is an acoustic track that would fit into a Twin Peaks episode, and the closer, “Almost Everyday” is an ode to Seattle’s Everyday Music record store, where Farr-Morrissey worked until it closed four years ago.
It, like much of the album, is a reflection on things that were and what they (and we) have become now. The reflection is often beautiful and shimmering, like light reflected on water. Those memories, those places and moments, are often just like the air between us…ephemeral yet present, dream-like yet solid…like this record.
There’s an obscured beauty and a slithering cool that oozes throughout First Taste of Heaven– It’s raw and driving, powerful and playful, all with direct songwriting that is as revelatory as it is mysterious and compelling. Nuclear Daisies is made up of Austin players Rob Glynn (ex Temple of Angels), Alex Gehring (Ringo Deathstarr) and Robby Williams. Together the three created a record that is literally and figuratively– an eye-opening, DMT-soaked view at a world in chaos– not to mention a new vision for 90’s alternative and big beat for the next generation.
First Taste of Heaven is about life in all its glory and shroud– a post-apocalyptic journey through celebration, love, heartache, pain, acceptance and finally transcendence– physical, spiritual and even supernatural. And though the creation of the record was based on personal trials and tribulations, it also offered escapism from that same harsh reality in the form of catharsis and healing.
“Infinite Joy”, available today announces itself with the snap and the thump of a breakbeat and a snarling bassline, starkly contrasting from Gehring’s breathy, seductive vocals which drive the track. The juxtaposition adds drama to pensive lyrics that mine the dredges of mental health and the road to recovery. “The lyrics perfectly express the depths of depression and the hopelessness that someone can feel to claw their way out of it,” admits Gehring.
Nuclear Daisies tracked First Taste of Heaven at Hungry Dog Sound & Studio in Austin, Texas with Williams at the helm over the course of a year. Their inspiration was less obvious – “I’d say it wasn’t specific productions but more specific vibes that we wanted to emulate,” specifies Williams. “We had clear visions of how we wanted certain songs to not only sound, but feel too– very sci-fi and dystopian. One song we wanted to feel like attending the vampire rave from ‘Blade’– tense, pulsing, but also a little bit dangerous. We wanted a different track to feel like the underground rave at the end of the world from ‘The Matrix’ – just sort of this lawless party of no rules at the end of days. There were also times when Alex would be in the booth and we’d say ‘sing it like you’re crying’ or ‘try it like a dead choir member.’ There are a lot of wild influences in there that come from disparate places and not just conventional ideas.”
First Taste of Heaven is droney, cacophonous, and antagonistic yet serene and with melodic pop sensibilities that hook into you and don’t let go. It’s the follow up to their 2022S/T debut which featured hit single “Heaven In Your Head”. Nuclear Daisies will soon see its reissue via Portrayal of Guilt Records in addition to the release of First Taste of Heaven on August 1.
Pearly Drops found their footing in an eclectic corner of the Finnish underground, going on to become rising stars in the global indie-electronic circuit. The forward-thinking duo of Sandra Tervonen and Juuso Malin has worked with artists including Nourished By Time and Vitesse X, in addition to receiving a Teosto Prize. Today, Pearly Drops announce their upcoming full-length The Voices Are Coming Back, which is out August 29, 2025 on Music Website. The album was conceived in Los Angeles through 2023-2024, draws inspiration from time spent during their travels in the “land of opportunity” and serves as a work of autofiction, a surreal, emotionally charged descent through an imagined Los Angeles, filtered through dream logic and internal chaos. Pearly Drops has also shared the single “Ratgirl,” which fully conveys the album’s shape-shifting surrealism. Lyrics about crawling through the walls as a rat tap into Lynchian mysticism, while grappling with themes of the Hollywood fantasy and surreal disillusionment. Supported by a propulsive, electro clash instrumental, “Ratgirl” embodies the sun-soaked weirdness at the heard of The Voices Are Coming Back.
On the track, Pearly Drops share:“‘Ratgirl,’ like the previous single ‘Mermaid,’ drifts further down Talmadge Street, now submerged in a feverish and uncanny night. With a full-on fantasy imagery and certain abruptness — ‘Ratgirl’ is like the weirdest scene in a David Lynch movie. Within this hallucination, becoming a rat crawling through the walls of a luxury Airbnb in Silver Lake feels less like a metaphor and more like a calling.
“In the realm of the real world, ‘Ratgirl’ may be our first work that leans more towards Dance music, fragmentarily attempting to recall the New Rave and Electroclash of the early millennium. As always, Pearly Drops’ Indie Disco most likely feels more tailor-made for the record bag of an imaginary DJ. Think of a foggy, empty and dirty club with a strobe light tearing through the dark—kind of eerie, kind of intense. That’s the feeling we wanted to bring into the music video.“
Keep your mind open.
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Baltimore-born and Hamburg/Berlin-based, Sophia Kennedy shares new single ‘Imaginary Friend’ where she explores what it means to let go of a persona you’ve created yourself. Taken from new album Squeeze Me out 23rd May via City Slang, which follows the release of DJ Koze’s album Music Can Hear Us where Sophia is featured on two tracks. “Imaginary Friend is a song that has come a long way. It’s gone through many different stages to become what it is: a pop song”, Sophia says. “The song is also about a kind of transformation or metamorphosis of the different stages of coping with grief. It is about longing for reality and saying goodbye to an imagined idea of a person. Memories and longing can become obsessions, the imagined friend becomes an enemy. The decision to let go is therefore a liberating blow.” Director Timo Schierhorn said on making the video, “I’m not only a huge fan of Sophia Kennedy’s future-predicting pop songs, I also deeply admire her unique acting abilities. When we began developing ideas for the video, it quickly became clear that she needed a very specific kind of stage — something massive, hard to control, and a little bit dangerous. So we rented a 5.8-ton lift and moved it within just two millimetres of a three-million-euro glass facade. It gave her a performance space suspended 24 meters above the ground, where we could only communicate by radio.” He adds, “Cinematographer Tom Otte filmed from inside a shopping mall, through layers of glass, as Kennedy performed between six and nine characters in a single take. Every take was brilliant, but we had to choose just one. I still wonder who she was looking at. Far in the background, always present: the Atlantic.”
Stripped down compared to her previous works, Sophia embraces her talent for catchy melodies with pop appeal and psychedelic flourishes on Squeeze Me. A cinematic quality runs through the entire album’s 10 tracks — it’s no surprise, given Kennedy once studied film. Rigor and beauty, humor and melancholy, fatalism and strength – Squeeze Me inverts everything about Sophia Kennedy, echoing the album cover. Either she or the rest of the world is upside down, depending on each of our perspectives. More focused and more pop than ever, Squeeze Me is Kennedy’s most cohesive album, perhaps even a kind of artistic manifesto. It’s a multilayered, self-assured statement that thrives despite—or perhaps because of—all the inner and outer crises around and across it. Squeeze Me doesn’t ignore the world outside but instead counters it with one of its own—one we somehow recognize but have never glimpsed quite this way before.
Following her self-titled debut (2017, Pampa Records), a radiant dance between the glamour of the Great American Songbook, electronic textures, and clubland influences, earning her international acclaim, Kennedy released her second album, Monsters (2021, City Slang), and delved deeper into surrealism and transcendence. Now on Squeeze Me, Kennedy and her long-time musical collaborator and co-writer Mense Reents sketch a more disillusioned commentary on the status quo of the world at large. The complexity of interpersonal relationships, questions of power dynamics, and the quest for self-determination —longstanding themes for Kennedy—run as a cohesive narrative throughout the album.
More minimalist than her previous works, Squeeze Me brims with Kennedy’s gift for catchy melodies with a certain pop appeal and psychedelic hues: repetitive piano chords, shimmering synth bass lines, strangely flickering choirs, and even a scream set the sonic stage. The songwriting on Squeeze Me thrives in its stark simplicity, finding beauty in paring back. Over the hum of an organ and steady drum-machine beats, Kennedy casts off a stale, supposed dream state with irresistible charm and effortless cool. Sophia will play her second ever London show on 19th November at Shacklewell Arms – her first was almost 8 years ago in 2017. Tickets on-sale now.
Squeeze Me is out 23rd May via City Slang Records Pre-save / Pre-order
Tour Dates May 30th DE – Neustrelitz – Immergut Festival October 8th DE- Cologne- Bumann & Sohn October 9th DE-Offenbach – Hafen 2 October 10th DE-Stuttgart – Merlin October 11th CH-St. Gallen – Palace October 13th DE-Munich – Kranhalle October 14th AT-Vienna – Flucc October 15th DE-Dresden – Tonne October 16th DE-Leipzig – Conne Island October 19th DE-Berlin – Lido October 25th DE-Hamburg – Knust
Today Swedish italo disco / synthpop duo Sally Shapiro share new single “Did You Call Tonight” from their upcoming album ‘Ready To Live A Lie’, which is due May 30th via Italians Do It Better.
On the track, the band said “Microcheating is the theme of this new single. Musically it’s inspired by 80s electro breakbeat, a bit slower and funkier than our usual style.”
Made up of producer Johan Agebjörn and an anonymous female vocalist who uses the pseudonym Sally Shapiro; the duo are known for their dreamy, melancholic sound and nostalgic homage to 1980s Italo disco and gained international recognition with their debut album Disco Romance (2007), which was then followed by My Guilty Pleasure (2009), Somewhere Else (2013) and their debut for Italians Do It Better Sad Cities (2022).
The name “Sally Shapiro” has always referred to both the duo, as well as the enigmatic anonymous singer whose real name is something else. But “Sally” is also a third entity: the fictional character singing about her love stories. It’s now been 18 years since Sally Shapiro’s debut album Disco Romance, that took influences from italo disco and indie pop with a naive and youthful flavor, as if everything “Sally” did was to “walk in the moonshine thinking about my love affairs”, as she once put it.
Ready To Live A Lie may, however, be the duo’s darkest album yet. The lyrics have shifted from the euphoria of first love to exploring “Sally’s” struggles in long-term relationships—love triangles, boredom, resentment, and the lingering sense of loneliness.
Ready To Live A Lie is out on Italians Do It Better on May 30th and includes the duo’s acclaimed Pet Shop Boys cover Rent.
Taking inspiration from synthwave, italo disco, nudisco, indie pop and bossanova, the album becomes their fifth studio album & their second for Italians Do It Better – again mixed together with label founder Johnny Jewel (Chromatics, Glass Candy, Desire).
Sally Shapiro’s forthcoming album ‘Ready To Live A Lie’ is now available for preorder on vinyl 2LP (pink vinyl or transparent electric blue vinyl), CD and digital from their Bandcamp page.
Elle Barbara is an avant-garde singer-songwriter, recording artist, and performer based in Montreal, Quebec. Her music alternately combines elements of sophisti-pop, jazz, and glam, with an interest in library music and psychedelic soul. She has become an iconic and ubiquitous presence in Montreal, as comfortable at the DIY art show as she is performing with Madonna.
Rising from artist-run spaces at the turn of the 2010s, Elle Barbara has seen her work soar to enduring albeit niche acclaim, in a part-time artistic career whose highlights include duets with Lætitia Sadier and Sean Nicholas Savage. In the later half of the 2010s, Elle Barbara’s efforts mostly centered around community organizing and solidarity work. She notably helped establish an anti-poverty grassroots collective whose mission was to grant discretionary funds to low-income trans feminine people, and did peer work to promote harm reduction methods and offer active listening and legal support to society’s most vulnerable. She mainly releases music as Elle Barbara’s Black Space, a concept group she formed to feel less culturally isolated in Montreal’s underground. She is also partly responsible for reviving Montreal’s ballroom scene.
Today, Elle is announcing her American debut, Word On The Street, which will be out June 27th on Celluloid Lunch, K Records / Perennial / K and Elle’s own House of Barbara. To mark the announce, Elle is sharing the single and video for her track “Hitler, Satan & Associates LLP.”
Word on Street was written, composed, arranged, and produced by Elle Barbara, in close collaboration with Renny Wilson, who recorded, engineered, and mixed the album over a challenging 8-year arc that saw Elle transition socially and medically while on welfare and frequently eating off as little as $11 CAD per week. In that sense, Word on the Street is a victory against class struggle and nepotism, and is a brazen testament to how a low-income, welfare-assisted, middle-aged, Black male-to-female transsexual beat the odds, using all resources to make the music of her mind while ignoring music industry conventions.
The albums is a genre-defying concept album that promises to become a cult classic and solidify Elle Barbara’s reputation as an uncompromising auteur, champion of queer eccentricity, all-around visionary, and working-class heroine.
Each track on the album conjures up unique pictures composed of seemingly incongruous images such as corrupt justice systems, aliens, industrial food production, religious fanaticism, and the Montreal Canadiens hockey team.
As such, “Hitler, Satan and Associates LLP” makes an excellent introduction to the album, as Elle explains:
“Hitler, Satan & Associates LLP is a psychedelic avant-pop number with elements of free jazz. The lyrics are about as absurd as the economic times we live in.”
Roi Turbo — the project of South African-born, London-based electronic duo of brothers Benjamin & Conor McCarthy — announce their new EP, Bazooka, out April 25th via Maison Arts, and present the new single “Bobo Spirit.” Additionally, the band announces they will be supporting Empire of the Sun on tour throughout North America in April and May.
On their second EP, Bazooka, Roi Turbo roar down many creative roads at once, celebrating the permanence of rhythmic pasts, the contrasts of analog and digital futures, and a familial bond which marries their shared idea of sonic ecstasy to a populist streak of giving listeners what they want.
In some ways, Conor and Benjamin have been moving toward this moment their whole lives. Growing up in Cape Town with music-loving parents, they abandoned drum lessons for self-taught strategies (Conor played along to Bloc Party records, Ben learned via YouTube). The brothers debated the pros and cons of band-driven sounds (Conor) versus electronic production (Ben), unknowingly laying the foundation for their future. Their musical curiosity led them to the psychedelic modulations of William Onyeabor, the ‘80s South African bubblegum and Nigerian disco scenes, and the danceable rock of Paul Epworth. By their early 20s, Conor and Ben began to understand how their separate skills mixed with shared values and perspectives, could blossom into a secret weapon.
In 2023, the brothers relocated to London. They recorded with only a fraction of their home gear in apartments whose neighbors reacted angrily to the loud sounds. This took the sound of Bazooka away from clamor and experimentation towards what could be done more quickly and inside machines. They found technical ways to recreate the big gated drums of ‘80s records they once laughed at, scaling back the cheesiness. They leaned into the vibe of pieces rather than getting stuck on perfecting mixes and takes, embracing a more streamlined process.
Today’s single “Bobo Spirit” brings acid house piano chords into a Balearic context of open air and sunsets— a world of heavyweight groove propulsion. Of the track, Roi Turbo say: “‘Bobo Spirit’ is a mid tempo groove that is driven by catchy guitar licks, bouncing piano chords, rolling digi bass, and sci-fi synth leads. We had the idea of making a song that infused psychedelic melodies with a spacey sci-fi like feel, in a way it’s a melting pot of all the sounds we were listening to at the time.”
At its core, Bazooka reflects the lifelong bond between Benjamin and Conor McCarthy—their shared influences, differing perspectives, and unified vision. Picking up where other great beat-driven siblings like Soulwax’s David and Stephen Dewaele left off, the McCarthys rock the block, and blend the distinctions. In the process, they create a classic disco-funk-house sound that skips between soundsystem eras of multiple continents, winding up with a contemporary edge all its own. With the tank full and the roads open, Roi Turbo is just getting started.
Roi Turbo Tour Dates Wed. April 23 – Detroit, MI @ The Fillmore % Thu. April 24 – Chicago, IL @ Radius % Sat. April 26 – St. Louis, MO @ Saint Louis Park % Mon. April 28 – Morrison, CO @ Red Rocks Amphitheatre % Wed. April 30 – Seattle, WA @ WaMu Theater % Thu. May 1 – Eugene, OR @ Cuthbert Amphitheater % Sat. May 3 – Berkeley, CA @ Greek Theatre % Sun. May 4 -Sacramento, CA @ Channel 54 % Thu. May 8 – Los Angeles, CA @ Cercle Festival % Sat. May 10 – Los Angeles, CA @ Just Like Heaven % Sun. May 11 – Las Vegas, NV @ The Pearl % Wed. May 14 – Austin, TX @ Moody Amphitheatre % Thu. May 15 – Dallas, TX @ South Side Ballroom % Fri. May 16 – Houston, TX @ 713 Music Hall % Sun. May 18 – Atlanta, GA @ Coca Cola Roxy % Tue. May 20 – Philadelphia, PA @ The Fillmore % Wed. May 21 – Brooklyn, NY @ Brooklyn Mirage % Fri. May 23 – Washington, DC @ The Anthem % Sat. May 24 – Boston, MA @ MGM Music Hall at Fenway % Thu. June 19 -Sun. June 22 – Rothbury, MI @ Electric Forest
Anika — the British-born, Berlin-based musician Annika Henderson — releases the new single/video, “Walk Away,” from her new album, Abyss, out April 4th on Sacred Bones. Following the “righteously hypnotic” (Paste) lead single, “Hearsay,” “Walk Away” is a surprisingly jolly 90s alt-rock tinged track with blatantly honest lyrics: “The truth is I don’t really like myself/ And the truth is I don’t really like anyone else… Sometimes I know, life can just suck… And the truth is, I’d rather you just go to hell… And the truth is, I’d rather the whole world did as well.”
On the track, Henderson says: “This song is saying all the things I want to say but am too scared to say or that society doesn’t accept me to say. It is dealing with mental health – the state of poor mental health in these fucked up, divided, isolated, social media, war, pest, rise of the right times. It is the deconstruction of the feminine – of topics considered to be private realm.” As inspiration, Henderson cites “the reckless nature of 90s /2000s Hole / Courtney Love records – of not giving a shit – telling it how it is, not scared to offend, not scared to be cancelled. We have also lost the space for healthy debate, for difference of opinion, shutting down those we don’t agree with, removing them from our social networks.”
The song’s accompanying video directed by Laura Martinova was shot in an ex-brothel in Berlin and “plays with the socially constructed ideas of femininity, of sexuality, of sexual restriction and confronts them,” Henderson explains. “The character is quite sufficient by herself, sexually and socially liberated – and also a bit of a mess, destroying the prim and proper idea of how a good wifey should be. She is a hedonist, she lets herself go, she shows anger, she shows being drunk, she seems to enjoy dusting the pictures of the naked ladies very much, she is independent and breaking out of all the bars imposed by the patriarchy. The guy in the video never finds her, never even gets close, doesn’t in the slightest disrupt her life, he continues to look but she seems to always be a step ahead.”
Anika created Abyss out of the frustration, anger, and confusion she feels from existing in our contemporary world. Notably heavier than her previous releases, the 10-track Abyss feels raw, urgent, and fueled by strong emotions. Abyss was recorded live to tape at the legendary Hansa Studios in Berlin (where the likes of Depeche Mode and David Bowie also recorded) in just a few days. Recording live and with minimal overdubs was an important decision, Anika stresses, in order to capture the raw immediacy of the album. As before, she wrote the songs herself, before fleshing them out with Martin Thulin of Exploded View, and then assembled a live band to join the pair in the studio – comprising of Andrea Belfi on drums, Tomas Nochteff on bass (Mueran Humanos) and Lawrence Goodwin (The Pleasure Majenta) on guitar, with studio engineering done by Nanni Johansson and Frida Claeson Johansson.
Anika Tour Dates: Sun. Apr. 20 – Berlin, DE @ Volksbühne Thu. Apr. 24 – Cologne, DE @ C/O Pop Fri. Apr. 25 – Tourcoing, FR @ Le Grand Mix Sun. Apr. 27 – Brussels, BE @ Ancienne Belgique Mon. Apr. 28 – London, UK @ Omeara Tue. Apr. 29 – Bristol, UK @ Strange Brew Wed. Apr. 30 – Manchester, UK @ YES (Pink Room) Thu. May 1 – Leeds, UK @ Brudenell Social Club Fri. May 2 – Belfast, UK @ Cathedral Quarter Arts Festival Sat. May 3 – Dublin, IE @ Whelans Mon. May 5 – Brighton, UK @ DUST Tue. May 6 – Paris, FR @ Gonzai Night @ Petit Bain Wed. May 7 – Strasbourg, FR @ La Grenze Thu. May 8 – Düdingen, CH @ Bad Bonn Fri. May 9 – Zürich, CH @ Bogen F Sat. May 10 – Frankfurt, DE @ Mousonturm
A shapeshifter, a sonic acrobat, a performer with one foot in the cosmos and the other in arthouse theatrics, Gelli Haha (pronounced Jelly Haha) is a space for pure creative chaos.
For the opening trick, Gelli Haha presents her debut album, Switcheroo. Gelli’s music thrives on duality: playful but profound, tongue-in-cheek but sincere. Switcheroo is the soundtrack to the Gelliverse, a sensory adventure sphere created by Gelli.
Her debut art pop single “Bounce House” flashes back to youth-like innocence with high upbeat energy, turning the dance floor into a playground. The track’s accompanying music video rockets viewers straight into Gelliverse. This live revue is an invitation into a world of choreography, dolphin balloons, flutes, mini trampolines, and a stage bathed in the project’s primary color, red – bold and full of mischief. The 360 experience was shot all in one take by director David Gutel.
With a shared taste for off-kilter pop and vintage gear, producer Sean Guerin (of De Lux) joined Gelli in turning freshly-formed demos into a high-voltage experiment, abandoning meticulous structure for something freer and more electrifying. Every song on Switcheroo makes use of a myriad of recording toys; wacky analog effects, such as the Eventide Harmonizer, MXR Pitch Transposer, and various Electrix units, fashion an intentionally flawed and strictly silly texture throughout the album.
Switcheroo is an exercise in letting go, an inside joke turned theatrical spectacle. Participation is encouraged. Surrender is required. Switcheroo sees its release June 27 via Innovative Leisure. Gelli Haha performs March 22 in her hometown of Los Angeles at Permanent Records just ahead of her appearance at this year’s Treefort Music Fest. For more info, follow Gelli Haha on Instagram.
Swedish italo disco / synthpop duo Sally Shapiro announce their fifth studio album, Ready To Live A Lieout May 30th and today are sharing the first single “The Other Days”. Taking inspiration from synthwave, italo disco, nudisco, indie pop and bossanova, the album becomes their second for Italians Do It Better – again mixed together with label founder Johnny Jewel (Chromatics, Glass Candy, Desire).
Made up of producer Johan Agebjörn and an anonymous female vocalist who uses the pseudonym Sally Shapiro; the duo are known for their dreamy, melancholic sound and nostalgic homage to 1980s Italo disco and gained international recognition with their debut album Disco Romance (2007), which was then followed by My Guilty Pleasure (2009), Somewhere Else (2013) and their debut for Italians Do It Better Sad Cities (2022).
The name “Sally Shapiro” has always referred to both the duo, as well as the enigmatic anonymous singer whose real name is something else. But “Sally” is also a third entity: the fictional character singing about her love stories. It’s now been 18 years since Sally Shapiro’s debut album Disco Romance, that took influences from italo disco and indie pop with a naive and youthful flavor, as if everything “Sally” did was to “walk in the moonshine thinking about my love affairs”, as she once put it.
Ready To Live A Lie may, however, be the duo’s darkest album yet. The lyrics have shifted from the euphoria of first love to exploring “Sally’s” struggles in long-term relationships—love triangles, boredom, resentment, and the lingering sense of loneliness.
On the record, Johan said, “We live in the era of lies. We deceive ourselves, our partners, and those around us. On social media, we paint pictures of perfect lives, only to be fed falsehoods in return—by algorithms, newsfeeds, and politicians.”
Sally added, “But perhaps, at times, we need these deceptions to get by. Maybe loneliness is somehow inescapable and we simply do our best to navigate life.”
Ready To Live A Lie is out on Italians Do It Better on May 30th and includes the duo’s acclaimed Pet Shop Boys cover “Rent.”
