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EXCLUSIVE PREMIERE: All Of The Lights Announce Self-Titled Debut, Drop Soaring First Single, "Fading"

Music News, New Music, Exclusive PremiereWeston PaganoComment
All of the Lights Fading Transverso Premiere.jpeg

London-based pop outfit All Of The Lights have finally announced themselves with debut track, “Fading,” the lead single from a forthcoming self-titled EP three years in the making.

With members hailing from the UK, Sweden, and Estonia, the group combined to self-produce, mix, and master all of All Of The Lights, allowing for complete creative control. “Fading” layers a hopeful synth melody over an atmospheric soar, guided by a lyrical reconciliation between regret and acceptance. “Why waste our time / Running for our lives?” vocalist Raven Alexander asks. With “Fading,” we’re given more than enough reason to pause for something more.

Alexander explains,

It’s about acknowledging the darkness in yourself through a never-ending battle in your mind, and a false sense of victory over your emotions, while actually coming to terms with what you are and accepting it to be able to move on. ‘We’re fading’ refers to the duality of the protagonist. The two verses are a conversation between the negative and positive sides and the chorus is an agreement between them.

Transverso is proud to premiere the music video for All Of The Lights' debut single, "Fading." Watch and listen below.

Watch Fallow Land's New Music Video for First 'Pinscher' Single, "Faux"

New MusicWeston PaganoComment

"There is no god waiting for us," warns Fallow Land's Whitaker Fineberg over "Faux"'s reverb bed. "We're all alone and we're all corrupt."

The lead single is quite a dark harbinger for Pinscher, the Ann Arbor-based duo's debut EP due to be self-released June 30, especially following the comparatively sunny "Are All My Bad Decisions Rock And Roll?", which Transverso premiered back in 2015.

What inspired this heavier turn? As Fineberg tells Transverso, "Faux" was born out of a desire to strip oneself down and rebuild in someone else's image and the subsequent realization such a tactic was failed from the start. 

I wrote ‘Pinscher’ while making sense of a recent breakup. “Faux” was a failed last-ditch effort to make the relationship work. As we drifted apart, the term “incompatible” was frequently used as we discussed the relationship. “Faux” expresses my desperate desire to conform to someone else’s needs and the realization that the only way to do that was to change some of the characteristics that made me “me.” This, of course, proved to be impossible. Relationships that are predicated on a false understanding of self are ultimately doomed.

"Faux" sees Fineberg's haunting vocals deftly combined with bandmate Evan Veasey's searching guitar, set to a droning haze, and interspersed math rock-tinged bass and percussion fits and starts. 

Check out the accompanying grim video directed by Stephen Levy and Jordan Anstatt, as well as Pinscher's cover art shot by Andrea Calvetti, below.

Grizzly Bear Detail New LP 'Painted Ruins,' Release "Mourning Sound" Single, Tour Dates

Music News, New MusicWeston PaganoComment

"I made a mistake / I should have never tried," opens Ed Droste on Grizzly Bear's "Mourning Sound." Accompanied by the announcement of an extensive tour and their fifth full-length album, Painted Ruins, for which this new track is the second single after "Three Rings," that lamentation is oddly juxtaposed with long-awaited excitement.

"Mourning Sound" is a rollicking exploration of each member's contribution to the whole; Christopher Bear and Chris Taylor's drum and bass steadily guide Droste's croons before Daniel Rossen brings it home with the chorus and some trumpeted electric guitar, all over a steady buzz of synth for a very on-brand level of cohesive complexity.

Their major label debut, Grizzly Bear's Painted Ruins is due out August 18 via RCA Records. Their forthcoming tour kicks off this October, for what will be the band's first shows since performing in support of Bernie Sanders last year. The lack of a Chicago date suggests a future festival appearance.

"Mourning Sound," the album art, tracklist, and tour dates are all below. Enjoy it all while you can, because if the new press photo is any indication, poor Dan seems to be fading off into space at an alarming rate. Either that or the printer started running out of ink.

Painted Ruins

  1. Wasted Acres
  2. Mourning Sound
  3. Four Cypresses
  4. Three Rings
  5. Losing All Sense
  6. Aquarian
  7. Cut-Out
  8. Glass Hillside
  9. Neighbors
  10. Systole
  11. Sky Took Hold

Still Whistling Through the Darkness: Peter Bjorn and John On Reaching 'Breakin' Point'

Music InterviewWeston PaganoComment

Bands are often boxed into having narrow calling cards despite their best efforts, whether it be a niche genre or a particular magnum opus from 2006 unfairly labeled as a one-hit wonder. But five years after their last LP, Gimme Some, gave us 300% of a normal thumbs up in the form of guitar-driven power pop, and a full decade after their ubiquitous hit, "Young Folks," whistled its way into hearts and sync licenses everywhere, Peter Bjorn and John's seventh album, Breakin' Point, offers something altogether different.

Their first full-length released on the band's own label, INGRID, but polished by a veritable all-star team of outside producers, it's a pure pop collection of 12 singles that simultaneously signifies both increasing independence and their most controlled and collaborative effort to date. It's 41 minutes of danceable relief from some of the negative themes lyricized - such as dealing with The Man and modern music industry woe - made all the more special considering its creators only had two hours of sunlight back home in which to play it.

On a recent warm summer night, Peter Bjorn and John continued the first steps of an American tour in support of Breakin' Point as the headlining act at a modest food festival in the streets of Chicago's West Loop neighborhood. Several delays (the preceding band's grand piano didn't exit the stage without an apparent fight, nor did the Swedes' monitors play nicely) and a hard curfew saw the easy-going trio abruptly cut off after 40 minutes, leaving throwback set closer "Objects Of My Affection" sadly unperformed, but even that did little to mar what was a classically exuberant PB&J show now also aided by new touring members and that special kind of excitement that can only come after a hiatus as long as theirs.

Transverso sat down with guitarist and lead vocalist, Peter Morén, and percussionist, John Eriksson, following their set to discuss Breakin' Point, illegitimate sons, and why they keep on whistling even after all these years.

TRANSVERSO: So tell us about this Breakin’ Point tour.

JOHN ERIKSSON: This specific tour is the first feeling of how the songs are taken by the audience [that] has heard the whole album, and it’s very different from all other tours because we’re bringing all our families in a hippie bus. There’s one family bus and one crew bus; I think the family bus, that’s where the party is! [Laughs]

How has bringing your families along affected tour life?

PETER MORÉN: We just started, so we’ll see. All day is gonna be taking care of kids.

How has leaving your old label and releasing Breakin’ Point on your own startup, INGRID, changed your process? Do you feel you have more freedom now?

MORÉN: Not really. We didn’t know it was going to be on INGRID, really, but we started the label in between the records so it felt pretty natural eventually, but I don’t think it affected the record.

ERIKSSON: Pontus [Winnberg] from Miike Snow - they are also in the INGRID label - actually co-produced two of the songs. I think that might not have happened if we didn’t have that label with [them]. We worked in the INGRID studios in Stockholm for a week and the week after Miike Snow did their new album, so meeting Pontus was a natural thing to collaborate. We might play on their record and Pontus worked with us, so that’s the good thing about INGRID: collaborations and stuff.

And it wasn’t just Pontus; you enlisted a lot of outside producers for this album including Paul Epworth (Paul McCartney, U2, Florence And The Machine) and Patrick Berger (Robyn, Icona Pop), which you don’t normally do. Has that outside influence in the studio made it more difficult for you to translate the record to your live show?


MORÉN: It was hard doing the record. It took a long time, but when we finally got the record done and started rehearsing live it felt pretty natural to do the arrangements. That’s partly why we wrote in those [new touring members]. We usually only play the three of us so this is like an upgrading or something. [Laughs]

ERIKSSON: Its PB&J Big Band... PB&J Plus Two.

I was thinking, because of your band name you can’t ever really change members.

MORÉN: [Laughs] It would have to be the same name.

How many bassists are there named Björn?

ERIKSSON: There was a guitar player named Björn Ulvaeus in ABBA, the old Swedish band. He played the bass too. Yeah, we met [him] at the airport a couple of weeks ago. He didn’t say so much, but he might be able to fill in. [Laughs]

I read that ABBA’s been such a huge influence on you you once jokingly claimed to be their illegitimate sons.

ERIKSSON: [Laughs] Oh yeah!

You’ve been around a while now yourselves, is there another band you’ve influenced that could be your illegitimate sons?

MORÉN: [Laughs] Ooh, good question…

ERIKSSON: There was a Swedish guy [Peter] actually did some work with, I thought he was your son, he seemed to like the same stuff you did. He was a Swedish hairdresser, that guy.

MORÉN: [Laughs] What? A Hairdresser?

ERIKSSON: Yeah! His name was Mikael… Mike? Mikey? Michael? I don’t know. [Laughs]

MORÉN: Someone I played with?


I know Paul McCartney is another big influence of yours, and it was his birthday yesterday. I know it's kind of an impossible question, but I was curious if you might have a favorite song of his.

MORÉN: Ooh, that’s interesting. It’s funny, because yesterday we were playing Nashville and Ringo Starr was playing [there too] on Paul’s birthday. It’s kind of hard, I’ve almost heard them all. Let me think… I actually did a Spotify playlist with 150 Paul McCartney songs, it’s actually pretty good.

ERIKSSON: [Laughs] For who?

MORÉN: For anyone who wants it! [Laughs] And I didn’t even count the classical records or experimental electronic records, I just did the pop records. But that’s a good playlist actually, I recommend it, I’ll send it to you! [Laughs] There’s a pretty little song I’ll pick today called “I’m Carrying.” It’s on the London Town record. That’s George Harrison’s favorite Paul McCartney song, so I pick that today, and tomorrow it’ll be something else.

ERIKSSON: You’ll have to update your website.

You critique the music industry in “Pretty Dumb Pretty Lame,” specifically the entitlement of some artists. Is there anything specific that inspired that subject?

MORÉN: It began with this thing where artists moan about how hard it is being an artist. Like, okay, skip it then! [Laughs] I don’t get [it], like things should be great if people come and see you play, otherwise you should skip it. I don’t see the point in being an artist if you don’t enjoy it, because no one forced you to be come an artist. There's a lot of shit in this industry for sure, it’s kind of quite fucked up, so there's a lot to critique. [Laughs]

You're successful artists who seem to enjoy what you do now, but I know Peter was studying to be a librarian before the band took off. That made me wonder: if you weren’t Peter Bjorn and John, what would you be doing instead?

MORÉN: I had some [jobs] before: I did some teaching, I worked in a bookshop. It would always be jobs because you had to pay rent, it wouldn’t be passion. I enjoy studying film, so I don’t know, it’s hard to say. Maybe I would write something like music reviews, that’s fun.

ERIKSSON: Luckily I had an old music career - I don’t want to call it career because it’s a hobby still, music - but I played classical percussion in a classical ensemble, so if PB&J hadn't happened I would still be doing that, I think. I’m happy I was drawn out of that because I did it for a long time, but now if I could choose I wouldn’t go back to that. I’ve been thinking about that… as Peter said I like movies too, but you know how hard it is to make an album, then to make a movie it’s like 20x the troubles with every detail, so I wouldn’t go into film. So same as Peter; just writing words. That would be fun because then it’s quiet and you can do it anywhere. That must be a very good job to be a writer, I must say, as you are. If Björn was here he would answer he wants to be a tennis pro, I’m sure.

In the past you’ve discussed the juxtaposition of light and dark present in both Swedish culture and the pop genre. Can you elaborate on how that inspires your creative vision?

MORÉN: It’s not something we discuss or decide about, it’s just something that happens quite naturally. It’s been like that on almost all the records, but I realized there are some very positive songs as well here and there. But if you take like a whole catalog and divide it down theres a lot of more depressed lyrics or slightly negative. I like that juxtaposition, but, for me anyway, it’s not planned like I think I should write negative lyrics to positive music.

ERIKSSON: It’s a natural Swedish melancholy always in every laughter. [Laughs]

MORÉN: [Laughs] It’s a long tradition in pop music. It’s quite common actually even in stuff you don’t think about, like even early Beatles songs that are happy are like, “I’m a loser,” “Help!” It’s all shit. Lyrics are really depressing.

ERIKSSON: It’s dark; during winter season where we come from up north it’s like two hours a day you might see the sun. Apart from that it’s just total darkness. So maybe that should affect you in some way, but also it might be a reason why there are so many musicians; you have to be indoors when it’s too cold to be outside [so] you either become a hockey player or a musician. If you live in Brazil you can be outside all day, you can be good at football.

MORÉN: For us at least, and a lot of Swedes, I think, the way we were brought up in really small villages [in] the middle of nowhere there wasn’t a lot to do. There were a lot of people doing sports and [we weren’t] into that, so when I got into music I did a lot of it myself. I learned to play guitar by myself and just listened to records and write songs to keep myself amused. Then of course when you grow up and move to Stockholm there are a lot of things happening, but I think sometimes you try to get back to that vibe of being bored to be able to create music. [Laughs]

ERIKSSON: All our friends, all my classmates were playing hockey except me. I found music, and same for Peter and Björn too. So it’s interesting that we three met [because we] started off not finding any bandmates because we lived in this small city up in the north of Sweden. But then you end up in Stockholm and you form a band that’s now playing in Chicago! It’s pretty weird and amazing. [Laughs] 

Breakin’ Point features a decent amount of whistling, but in the press release you made a point to say it shouldn’t be seen as a big deal. Have you felt pressured or hesitant about including whistling in your songs since “Young Folks”?

MORÉN: Yeah, I guess. I don’t know if it was discussed on any previous records but there was some whistling on the instrumental record called Seaside Rock, but no one noticed. There is whistling on [Writer’s Block track “Amsterdam”], too.

ERIKSSON: And on “Objects Of My Affection” and the B-side “Ancient Curse.” We whistled the whole summer.

MORÉN: And on this record we whistled on “Nostalgic Intellect” as well, but it’s together with the organs so it doesn’t sound as much. I think even on this new one we were kind of hesitating, which is why I said it wasn’t a big thing. It is something you do naturally; I always see people [doing it]. You just whistle stuff, you know? So on that song “Breakin’ Point” we had the piano melody already recorded, but then I was recording my voice and I started whistling, and someone said we should keep that and turn it up. But we were hesitating, actually. [Laughs]

ERIKSSON: Yeah, it’s like you did a magic trick at a party; you can’t do it at the next party or people with think you're cheesy or something. [Laughs] Peter had a supergroup called Tutankamon for a while, and you did a song with whistling and it was kind of not so far from “Young Folks.” You played it in a jeans store and did that whistling and I thought, for me, it didn’t fit. Like, Peter shouldn’t whistle, that felt bad.

You can't whistle with other bands!

ERIKSSON: Yeah, I felt betrayed actually! [Laughs]

Read our review of Breakin' Point here.

Peter Bjorn and John Reach Peak Pop Polish on 'Breakin' Point'

Music ReviewWeston PaganoComment

The wait for this one was so long we're not young folks anymore. Everyone’s favorite Swedish indie pop trio, Peter Bjorn and John, had been taunting fans with #PBJ7 social posts for much of the five years since Gimme Some gave us 300% of a normal thumbs-up in 2011, before finally releasing their 7th LP, Breakin’ Point, today. Delayed by growing families and a label shift as the band left Sony imprint Startime for their own Stockholm startup, INGRID, the wait has turned out, of course, to be worth it.

Breakin’ Point launches straight into things; you can already picture audiences clapping along as disco-tinged lament of working for The Man, ”Dominos,” sets off the "chain reaction" that launches into 12 tightly-packed tracks, all clocking in at 3:something or less (even “A Long Goodbye" doesn't reach four minutes) as if the triple-headed hammer on the cover itself cranked them out.

“It says, ‘We’re back! We’re smashing it!’” bassist Björn Yttling explains of the album art, which consists of, per tradition, three parts - one for each member. It's the affable Swedes’ most cartoonish and playful offering yet, which says a lot for the trio that gave us the undeniable whistler “Young Folks" among others, but their pop sensitivities, as radio-ready as they increasingly are for better or worse, lose little in the ways of heart. It needs to be “like ABBA,” Yttling says, and it’s clear they take the inspiration of their compatriots seriously; PB&J recorded Breakin’ Point in studios formerly used by ABBA, and have even jokingly claimed to be the classic group’s illegitimate sons.

PB&J first explored using outside producers on Gimme Some, but they’ve enlisted an entire star-studded roster of them this time around, including Paul Epworth (Paul McCartney, U2, Florence And The Machine), Patrick Berger (Robyn, Icona Pop), Greg Kurstin (Adele, Sia), Emile Haynie (Kanye West, FKA Twigs), Pontus Winnberg (Miike Snow) and Thom Monahan (Wild Nothing, Devendra Banhart). The band explored several evolutions following their well-deserved Writer’s Block breakthrough from Seaside Rock’s instrumentals, Living Thing’s minimalist electro-funk, and Gimme Some’s amped up guitar-driven power dynamics, and the newfound influence of big pop producers doesn’t go unfelt here as Breakin’ Point instead reaches for peak accessibility and polish.

Long-term fans will attest it was PB&J’s endearing quirks that kept them around after some fantastic sync licensing first propelled their 2006 ubiquitous flagship tune to the world stage, however - the beautifully poignant epic of “Up Against The Wall,” the captivatingly juxtaposed aggression of “Lay It Down," the viciously enthralling hook of ”Amsterdam” (which has been this author’s ringtone for as long as he can remember) - and Breakin’ Point lacks any adventurous, next-level standout in that way, resulting in their most consistently medium tempo, homogenous effort in years.

That being said, PB&J do however succeed at what they (safely) do attempt; the frantic skitter and plink of “What You Talking About?” proves they still know exactly what they’re saying, and they're slick while they do it. Their iconic, cheerful whistling notably returns in the title track and “Nostalgic Intellect,” (which “may seem like bigger news than it is, hey its only whistling,” the press release notes), with the former bolstering Peter Morén’s soaring vocals as they present a vulnerably honest attempt at finding courage for newfound fatherhood: “I saw it in Jesus / Saw it in Superman / Got it from whiskey / Like any loser can.”

Do Si Do” drops a Beatles reference on its way to the dancefloor, while “Between The Lines” aptly concludes “It's hard to sing if your hearts not there.” The punchy cowbell in album highlight and closer “Pretty Dumb Pretty Lame” is far from either of those things as PB&J address the triviality and tension found in their own profession: “Well you complain in the press / You’ve been under a stress / Well every nine-to-fiver is stressed out for less / If you enjoy what you do / Don’t let it ruin you.” These glimpses of true self-awareness are a precious commodity in today’s pop, and it’s exactly that and their genuinely disarming disposition that has always set them apart from their pop rock peers, even at their most formulaic.

“There are very few songs in our collection that are positive. I can’t think of one,” Yttling admits, which may surprise casual listeners. “It's always been about the blues. Life is shit, but tonight is nice – that’s what pop is, especially the songs that we love. You wanna have some darkness to be able to see the light. That’s how we do it up here in Sweden! It’s like a black and white movie if you look out: snow and a black mass of darkness.” It’s may not always reach the depth of past works, but Breaking’ Point does its part to make that darkness abate, even if for only 41 minutes.

Read our full-length interview with Peter Bjorn and John here.

Wild Child on How Songs Evolve over Time, Hometown South by Southwests

Music InterviewRemedy GaudinoComment

Since their debut in 2011, Wild Child has become a staple in the Austin, Texas indie scene, but stolen hearts around the world with their endearing ukulele melodies, honest lyrics, and charming live performances. Sweeping the festival circuit this upcoming summer to perform their latest effort, Fools, the folksy six piece is continuously on the rise. 

Before performing their first of three hometown South by Southwest showcases, founding duo of Kelsey Wilson and Alexander Beggins (who may or may not be newly engaged) sat down with Transverso at local favorite, Swan Dive, for a chat about their latest album, touring, and the inspiration behind it all.

TRANSVERSO: Fools came out in October, how’s that been going?

KELSEY WILSON: It’s going great, we have a lot of really good festivals lined up because of it.

I’ve heard third installments of anything, whether it’s an album, TV series, book, is typically harder to write. Was this true for Fools?

WILSON: Writing has never been an issue for us, that’s something that has always been there. With the first record we did it all ourselves. We rented equipment and figured it out. For the second record we did it professionally in a studio with a producer, like a nine-to-five kind of thing. This last record we found our favorite parts of both of those and just used them. We were in a studio but we could be there all night and we were just with homie producers, so at 2 AM if I was like, “I wanna do vocals right now!” I could.

How has Fools changed your live show?

ALEXANDER BEGGINS: Well, it’s kind of a curse because we just want to play all the new songs we just wrote, but we have to play a back catalog, but it’s been good and I think we’ve written a lot for our live show in mind. There are bigger songs, some more crowd friendly foot-stomping tunes. It’s weird how your live shows can dictate what you write.

What inspires Wild Child as creative individuals? 

WILSON: Other people. It’s always about experiences we’ve had with other people, we can only write about exactly what’s happening. It’s always straight from the journal, which makes it kind of hard because it’s extremely personal and really honest but we cant write something that we don’t agree with entirely and feel entirely. So, yeah it’s always just exactly what’s happening which is funny because then you sing about those tiny ass moments for the next two years every day and it’s like, "I’m still talking about that?"

You’re forced in to remembering those small moments repeatedly.

WILSON: And you have to get right back in that headspace every time you sing it, and Fools is pretty extreme.

Wild Child came together as a band from writing about break ups and situations like that, so is it hard to perform those songs over and over again even after those feelings have passed?

WILSON: After awhile they start to mean different things. You can attach songs that we wrote four years ago to different people. We wrote a song four years ago and still to this day we’ll be playing it live and be like, “That’s what I meant - that’s what that means - I get it now.” So they’re constantly evolving the more we experience and the more that we play them.  It’s not actually always the same, which is cool.

It makes the meaning change over time, so it gives it a whole new feeling towards it. 

WILSON: And you get to celebrate these experiences through meeting other people who’ve had them and connected to the song, so the songs stop meaning a song about a bad thing that happened and now it’s a song that connects you to thousands of strangers you don’t know. 

So how does it feel playing SXSW as a band from Austin?

BEGGINS: It’s really comfortable, this is like in our backyard and we actually only play Austin like once a year, so it's fun for us to get to play. But it feels like no pressure at all we already have everything we need, so it’s not like we’re trying to find this, we need this, this guys gonna be here. We’re just here and lets play some songs. It doesn’t really feel like a festival to me. 

WILSON: Yeah it’s just that one time that our city gets trashed and super crowded.

Back in Chicago we have Lollapalooza, but it's more contained. 

WILSON: We’re going to Lollapalooza for the first time this year.

BEGGINS: We’re stoked; really excited about that.

Are there any cities you are especially excited to go to for this upcoming tour?

WILSON: We have our favorites, I think we’ve played everywhere now so it’s kind of like what friends we have that are living there that we haven’t seen in awhile. It’s always nice to go to New York, LA, Chicago. Chicago has always been really good to us. Always.

BEGGINS: We’re doing a lot of stuff in Canada this year, too. Vancouver for the first time will be really exciting.

Wild Child has a sort of grassroots fan following. How do you think that will develop or evolve as you continue to grow as a band?

BEGGINS: I think that we have this secret weapon. We’ve developed this fan base that I think is going to be with us for a long time. It’s not this overnight success; all of the fans have grown with us for the past five years.

WILSON: It’s been a slow and steady build. For the past five years every single time we go through a city the crowd is 30% bigger, so it feels sustainable and real.

BEGGINS: I think that’s the way to do it these days. I mean, we would take overnight success if it came to us, but it's nice to know you can handle what’s coming at you. 

WILSON: And with overnight success - how do you keep that up? You can’t, no one does. But it’s like we can keep this up all damn day.

How do you keep it up? Last year you were out on tour for about nine months, plus writing and recording a record.

WILSON: We’ll schedule. If we don’t have to leave the hotel room until 2 PM, we’ll wake up early and do some writing. We went to Savannah, Georgia to record Fools. It’s beautiful and we just needed to go somewhere where we didn’t know anyone except for the producer and the studio, so it was like, that’s our option. We rented a house and it was like summer camp. 

BEGGINS: Our whole life is pretty much on a calendar. 

WILSON: It’s in 48-hour sections. I know what we’re doing today and I know what we have to do tomorrow. At all times.

Fools is out now. You can buy it here.

Hear Peter Bjorn and John Reach "Breakin' Point" on New Single

New MusicWeston PaganoComment

It may feel hard to believe it was a full 10 years ago now that "Young Folks" whistled Peter Bjorn and John into our ears and hearts, especially with how similarly the new title track from the band's forthcoming LP Breakin' Point starts out.

Originally debuted on NPR in a broadcast from as far back as last July, the single joins "Do Si Do" and "What You Talking About?" as our first glimpses of PB&J's comeback record slated for release on 6/10 via the trio's own label, INGRID. Still thumbs-upping since 2011's Gimme Some, the cheerful Swedes add an impassioned chorus and gently raining piano to the whistles, explaining to Stereogum:

It’s about waiting for new things coming ahead that will leave the past in the dust or at least make it look very different. About mental and physical adjustment. About kids becoming parents and maybe about growing up. About perspective, balance and seeing things for what they might actually be and not blown up to grotesque proportions. It features great production from Emile Haynie and whistling (may seem like bigger news than it is, hey its only whistling) and its the title track from our new album and we’re very proud of it!

Starfucker Drops Single "Never Ever" Ahead of New Tour, Hints to Transverso About New Record

New Music, Music NewsWeston PaganoComment

To kick off their impending tour with Com Truise and Fake Drugs, Starfucker have released a single title "Never Ever."

Bursting with their signature danceability and the repeated question "What would I lie for," the Portland group are as upfront as ever. Hopefully this is a sign of new music to come soon, as it's now been almost exactly three years since their last LP, pop masterpiece Miracle Mile, hit shelves.

EDIT: Starfucker have hinted to Transverso that this may be the first of more to come after all:

Check out the track and tour dates below.