{"title":"AFKutouts","description":"\u003cp\u003e\u003cstrong\u003eWe simply bought too many of these great records. Our loss is your gain. Buy 'em and spin 'em!\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"kings-of-leon-can-we-please-have-fun","title":"Kings Of Leon -  Can We Please Have Fun","description":"\u003cp\u003eGRAMMY award-winning, multi-platinum rock band \u003cstrong\u003eKings of Leon\u003c\/strong\u003e are coming back big with their 9th full-length studio album,\u003cem\u003e Can We Please Have Fun\u003c\/em\u003e. As the title suggests, it’s a document of one of this era’s great rock n’ roll bands cutting loose, trying new things, and, yes, having some fun. Recorded at Dark Horse studio and produced with new collaborator Kid Harpoon (Harry Styles, Florence + the Machine) the album sees a new side of Kings of Leon. On the new album, the band harkens back to their gritty origins while simultaneously finding new gears. 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Traversing the bounds of genre and language in his songs, singer-songwriter GRAMMY nominated Omar Apollo captures the adventurous spirit that this multi-hyphenate moment in pop demands, returning with his highly anticipated sophomore album, God Said No. God Said No is Omar’s interpretation of “lo que sera, sera” which translates to “whatever will be, will be”. The phrase embodies the album with Omar’s tongue-in-cheek humorous outlook on the suffering that comes from surrendering and accepting whatever is thrown at you by life, a relationship, or lover. Omar believes his natural state is longing for love or stability, and elements of the album are about surrendering to that. The record was created with Teo Halm, Blake Slatkin, Carter Lang, Dylan Wiggins, and Oscar Santander, among other contributors. In 2022 with the release of Ivory, Apollo’s eclectic debut, his hit single and career first Billboard Hot 100 entry “Evergreen (You Didn’t Deserve Me at All)” was certified platinum, sold out his first headlining tour, and performed arenas with SZA and Daniel Caesar. 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Across the album, she draws from the country and alternative rock music she listened to growing up outside of Houston; the songs of artists such as the Eagles, Vince Gill, Waylon Jennings, Joni Mitchell, Dolly Parton, and Neil Young, ever present in her life; and the decade she spent entrenched in Brooklyn's indie music scene.\u003c\/p\u003e\n\u003cp\u003eDenitia's music has been featured in the films Nanny and The Invitation, as well as in the series Better Things (FX), Broad City (Comedy Central), Dear White People (Netflix), Shrinking (Apple TV+), and The Terminal List (Amazon). She has toured extensively with the Black Opry Revue; been invited to perform at the National Museum of African American Music and the Country Music Hall of Fame and Museum in Nashville; and shared stages with Jason Isbell, Amythyst Kiah, Joy Oladokun, and Allison Russell, among other artists. In 2023, Denitia earned one of five spots in a residency hosted by the Black Opry and WXPN, was named to Rissi Palmer's Color Me Country class, and was one of three artists selected for CMT and mtheory's Equal Access cohort. 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More important, though, is this collision of two profoundly Southern artists, meeting to shed expectations of generation and genre, scene and situation and exchange truth, wisdom, and energy. The real world is more complicated than a pretty digital picture, bowdlerized of blemishes. As Broken Mirror: A Selfie Reflection reminds us, it can be more revelatory and transformative, too.\u003cbr\u003e\u003cbr\u003eThese racks are balls of energized contemplation, Holley crooning grievances and observations above surrealist grooves so irrepressible and heavy that the words strike with the force of gospel. Holley strolls into \"I Cried Space Dust\" as if he's wandered into the On the Corner sessions and offered unsolicited insights on true transcendence. \"I'm Not Tripping\" is an anthem of self-worth and self-enjoyment for a society mired in self-doubt, the words breaking like light beams through clouds of atomized drums and synths. And Holley begins the title track as a character mindlessly staring into a cell phone, captivated by his own image like Narcissus at water's edge. Holley ponders the egotism of projection over dizzying keyboards and guitars so jagged they conjure fractured glass. By song's end, he's mocking this infrastructure of pandering for likes, jeering us all above a savage bassline that dares you to differ. Holley and White may seem like unlikely collaborators, divided as they are by decades and disciplines. Holley, 70, first earned attention as a sculptor far removed from the fiefdom of fine art, using society's detritus to create curious bricolages that ferried deep narratives of ancestral pride, enduring pain, and eternal hope. His music-privately stowed on stacks of cassettes before he released his staggering 2012 debut, Just Before Music, at the age of 62-aired those ideas over extemporaneous pieces for prismatic keyboards. But on Big Inner and Fresh Blood, White, now 38, came into acclaim as one of his generation's most meticulous songwriters and arrangers. Stretching his assuredly soulful voice like a smile across little symphonies of strings, horns, choirs, and percussive cavalcades, White commanded sounds where Holley seemed to glide inside them.\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003cbr\u003e1 This Here Jungle of Moderness\/Composition 14\u003cbr\u003e2 Broken Mirror (A Selfie Reflection)\/Composition 9\u003cbr\u003e3 I Cried Space Dust\/Composition 12\u003cbr\u003e4 I'm Not Tripping\/Composition 8\u003cbr\u003e5 Get Up! Come Walk with Me\/Composition 7\u003cbr\u003e\u003c\/p\u003e","brand":"Spacebomb Records","offers":[{"title":"Default Title","offer_id":49542662586506,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0361\/4955\/9434\/files\/6621736-8e8ef6bf907f4b0fa7a4378ff17167aa.jpg?v=1781374571"}],"url":"https:\/\/afkbooksandrecords.com\/collections\/afkutouts.oembed?page=2","provider":"AFK Books \u0026 Records","version":"1.0","type":"link"}