Latest news with #NeverEnough
Daily Record
6 days ago
- Entertainment
- Daily Record
Ayrshire Emo rock four-piece band release new single 'Nosedive'
Landscapes & Landslides' new single explores the intersection of social media and reality as well as issues such as body image and gender-based violence. Kilmarnock-based Emo rock four-piece band, Landscapes & Landslides, are set to release their new single, 'Nosedive', on Friday, August 1. The single follows on from the Landscape & Landslides' previous two EP releases in 2024 and is the first of two singles set for release in 2025. 'Nosedive' offers a grunge-inspired take on modern emo music. The band have 'levelled up' the production, capturing the drums in one of Scotland's most prestigious recording studios, Chem19. After professionally tracking drums, the recording and mixing process was finished DIY at the band's home studio by guitarist, Kyle Roberts, before mastering duties were passed onto David McAulay, whose credits include collaborations with Mogwai, King Creosote and Afterlands. Landscapes & Landslides take musical influence from the likes of American Football, Turnstile, Movements and Microwave. The band members, guitarist and lead vocalist Christopher Williams, guitarist Kyle Roberts, bassist and vocalist Murray Baxter and drummer Asier Lopez, have created a fresh take on traditional Midwest Emo, drifting between aggressive guitars and rhythms and poignant melodies and vocals. Murray told Ayrshire Live: "We're all at a stage in our lives where work and family life is a priority and we're not very busy as a band, so when it comes to performing or releasing music it's such a buzz for us. "We see the band as our passion and our release. "We spend most Monday evenings in Mesi Studios, Kilmarnock, writing and practicing, sometimes we just chill out together and discuss ideas and music. "It's a lot of hard work being a self-produced DIY band, so when we see our gigs selling out and people being so responsive and engaged in our music, it is so rewarding. "We're really excited to get 'Nosedive' out there as we feel the song will be relatable to so many people as it explores a lot of societal issues and for an emo song, it's pretty hooky, one of our more accessible tracks for those not too familiar with our music." 'Nosedive', the first release from the band, written entirely by Christopher Williams, offers a more driven, grungier take while maintaining the bands roots, in a similar vein to Turnstiles' recent single 'Never Enough'. Lyrically, 'Nosedive' explores the intersection of social media and reality, inspired by the Black Mirror episode of the same name. It builds on experiences of aimlessly striving for social approval. The song makes references to subjects such as body image and gender-based violence, as well as reflecting on Chris's own emotions, capturing the feeling of helplessness as these issues worsen worldwide. Landscapes & Landslides are supporting This Familiar Smile at Nice N Sleazy, Glasgow, on Saturday, September 6, 2025.
CNBC
24-07-2025
- General
- CNBC
I've coached kids who got into Harvard, Stanford and Princeton—I recommend 5 'essential' books for raising successful kids
Walk into the parenting section of any bookstore and you will be bombarded by prescriptive books, old and new. It can be hard to parse which are worth reading. But over the last 10 years, as a coach to high-achieving high school students who have gotten into selective colleges like Harvard, Stanford and Princeton, I've come across a few that have been invaluable. These books, written by educators, scientists, journalists, and parents, have helped me better empathize with my students — and better support them and their parents in navigating competitive academic environments. I recommend five books for parents who want to raise highly successful "Never Enough," journalist Jennifer Breheny Wallace explores modern toxic achievement culture and the problems it can lead to. The central issue is what she calls the "excessive pressure to excel." This undue stress negatively affects a child's health and emotional wellness. So how do you defend against that pressure and help your kids thrive? Wallace proposes constructive ways to circumvent this culture, whether it's tamping down on the anxiety you as a parent may inadvertently be creating, or building support systems for yourself and your kid. In "The Happiest Kids in the World," authors Rina Mae Acosta and Michele Hutchison explore the facets of Dutch culture that contribute to The Netherlands consistently ranking as one of the happiest countries in the world for children. Acosta is Filipino-American and Hutchison is British. They are both married to Dutch men, and are raising their kids in the Netherlands, so they approached the topic from a uniquely cross-cultural perspective. What I like about this book is that while the authors focus on larger societal norms that are common in the Netherlands, they also share practical takeaways for parents, such as the value of letting kids be heard or of eating meals together as a way to bond. In "The Self-Driven Child," authors Dr. William Stixrud and Ned Johnson — Stixrud, a clinical neuropsychologist and professor at George Washington University School of Medicine, and Johnson, the founder of tutoring service PrepMatters — detail how parents can support their children in becoming more independent. Many parents would probably agree that they want to raise self-sufficient children, but they often see motivation as innate, as opposed to a trait that can be learned. This book corrects a lot of misconceptions about the use of incentives to motivate kids (e.g. compensating your kids for good grades is harmful in the long-term), highlights key pitfalls to avoid, and arms parents with evidence-based recommendations and conversation starters to help their kids build independence and resilience. "Who Gets In And Why" offers an illuminating look at college admissions in America. While researching the book, education reporter Jeff Selingo followed admissions officers at three top colleges to give a transparent account of how admissions decisions are really made. He explores how factors like geography, demonstrated interest, and the specific needs of a school can have an outsize influence on the acceptance or rejection of a student's application. With clarity, Selingo does a great job at helping parents understand the competing forces that make this process about so much more than just the merit of any one applicant: "College admissions is a constant balancing act," he writes, "to please the bosses, as well as other constituents — faculty, coaches, alumni, donors, and at public universities, politicians." "How to be a High School Superstar" was first published 15 years ago, but I find that it is more relevant today than ever. Author Cal Newport, now a professor of computer science at Georgetown University, shares tools to make college admissions less stressful for everyone involved. He offers strategies on how students can stand out, and none of them involve taking the most AP classes or getting the highest SAT scores. Instead, he recommends genuinely cultivating one's passions by going deep into one specific area of interest no matter how weird or niche. While written for high school students, it provides a valuable roadmap for parents as well.
RTÉ News
16-07-2025
- Entertainment
- RTÉ News
Turnstile's Dublin show moves venue and date to 3Arena on 1 November
US hardcore band Turnstile have announced that due to "phenomenal demand", their sold-out show at Dublin's National Stadium on Friday 31 October is moving to the 3Arena on Saturday 1 November with all original tickets remaining valid and additional tickets on sale from 11am today, Wednesday 16 July. As previously announced, support on the night will be rising London band High Vis. Turnstile sold out the National Stadium in minutes earlier this month. The Baltimore band are opening their Never Enough European Tour in Dublin. Turnstile released their new album, Never Enough, last month.
Los Angeles Times
09-07-2025
- Entertainment
- Los Angeles Times
Why Parker McCollum's new country album might be the best he'll ever make
Last fall, the country singer Parker McCollum played a gig on the south shore of Lake Tahoe — the final date of a lengthy tour behind 2023's 'Never Enough' — then flew directly to New York City to start work on his next album. 'Probably the worst idea,' he says now, looking back at his unrelenting schedule. 'I was absolutely cooked when I got there.' Yet the self-titled LP he ended up making over six days at New York's storied Power Station studio is almost certainly his best: a set of soulful, slightly scruffy roots-music tunes that hearkens back — after a few years in the polished Nashville hit machine — to McCollum's days as a Texas-born songwriter aspiring to the creative heights of greats such as Guy Clark, Rodney Crowell and Townes Van Zandt. Produced by Eric Masse and Frank Liddell — the latter known for his work with Miranda Lambert and his wife, Lee Ann Womack — 'Parker McCollum' complements moving originals like 'Big Sky' (about a lonely guy 'born to lose') and 'Sunny Days' (about the irretrievability of the past) with a tender cover of Danny O'Keefe's 'Good Time Charlie's Got The Blues' and a newly recorded rendition of McCollum's song 'Permanent Headphones,' which he wrote when he was all of 15. 'Parker's a marketing person's dream,' Liddell says, referring to the 33-year-old's rodeo-hero looks. 'And what happens in those situations is they usually become more of a marketed product. But I think underneath, he felt he had more to say — to basically confess, 'This is who I am.'' Liddell laughs. 'I tried to talk him out of it.' McCollum, who grew up in privileged circumstances near Houston and who's now married with a 10-month-old son named Major, discussed the album on a recent swing through Los Angeles. He wore a fresh pair of jeans and a crisp denim shirt and fiddled with a ZYN canister as we spoke. I was looking online at your —Nudes? At your Instagram. The other day you posted a picture of a box of Uncrustables on a private photo was not supposed to make the internet. That was an accident — my fault. I don't ever post about my plane on the internet. You're a grown man. Why Uncrustables?That's an adult meal that children are very, very fortunate to get to experience. Did you know when you finished this record that you'd done something good?Yes. But I didn't know that until the last day we were in the studio and we listened to everything, top to bottom. The six days in the studio that we recorded this record, I was s—ing myself: 'What the f— have I done? Why did I come to New York and waste all this time and money? This is terrible.' Then on the last day we listened all the way through, and I was like, Finally. Finally what?I just felt like I never was as focused and convicted and bought-in as I was on this record. I felt kind of desperate — like, 'Am I just gonna keep doing the same thing, or are we gonna go get uncomfortable?' Why New York?One reason is that city makes me feel like a rock star. In my head when I was in high school dreaming about being a songwriter or a country singer, I was picturing huge budgets, making badass albums in New York City or L.A., staying in dope hotels — just this fairy tale that you believe in. The other reason is that when you're cutting records in Nashville, people are leaving at 5 to go pick up their kids, or the label's stopping by and all this s—. I just wanted to avoid all of that — I didn't want to record three songs on a Tuesday in June and then record three songs on a Tuesday in August. I wanted to go make a record. Lot of history at Power Station: Chic, Bruce Springsteen, David Mayer wrote a song and recorded it in a day there — that song 'In Repair,' with him and Charlie Hunter and Steve Jordan. That's how I found out about the studio years ago. We actually ended up writing a song in the studio: 'New York Is On Fire.' A very John Mayer title.I wanted to go in the late fall when the trees were changing colors and the air was cool. Why was Frank Liddell the guy to produce?I knew if he understood Chris Knight and the songs he had written that he could probably understand me and the songs I had written. I'd made half a record with Jon Randall, who'd produced my last two albums. And I love Jon Randall — he's one of my closest friends in the world, four No. 1s together, multi-platinum this and multi-platinum that. But I just needed to dig deeper, and Frank was a guy who was down to let the songs do the work. What do you think would've become of the record you were making with Randall?It would've sounded great, and it would've had some success. But I don't know if I would've been as emotionally involved as I was with Frank. Frank got a better version of me than Jon did. What if nobody likes this record?It's like the first time I'm totally OK with that. Country radio moves slowly, which means 'What Kinda Man' may end up being a big hit. But it's not a big hit probably won't be. The only reason that song went to radio is because 'Burn It Down' had gone No. 1, and the label wanted another one. I was like, 'Fine, go ahead.' I've never one time talked with them about what song should go to radio. On this I just don't care. The song that goes to radio is very rarely the best song on the record. What was the best song on 'Never Enough'?Probably 'Too Tight This Time.' It's slow and sad, which is my specialty. You recently told Texas Monthly, 'I don't write fun songs. I've never really liked them.'There's some I like. 'Always Be My Baby' by Mariah Carey f—ing slaps. I love feel-good songs. But in country music, feel-good songs are, like, beer-and-truck-and-Friday-night songs, and those have never done anything for me. 'What Kinda Man' is kind of I think it's still well-written. It's not all the clichés that every song on the radio has in it. What's the best song on this album?'Hope That I'm Enough' or 'Solid Country Gold' or 'My Worst Enemy' or 'My Blue.' Lot of choices. I love this record. I don't think I'll ever do any better. Is that a sad thought?Eh. I don't know how much longer I'm gonna do it anyways. Why would you hang it up?I don't know that I'm going to. But I don't think I'm gonna do this till I'm 70. We've been doing these stadium shows with George Strait — I think I'm out a lot sooner than him. You watch Strait's set?Every night. What have you learned from him?When it comes to George, what I really pay attention to is everything off the stage. No scandals, so unbelievably humble and consistent and under the radar. The way he's carried himself for 40 years — I don't think I've ever seen anybody else do it that well. I'd love to be the next George Strait off the stage. I'm not sure his under-the-radar-ness is possible today.I fight with my team all the time. They're always trying to get my wife and kid in s—, and I'm like, 'They're not for sale.' I understand I have to be a little bit — it's just the nature of the business. But at home, that's the real deal — that ain't for show. I'd imagine People magazine would love to do a spread with you and your beautiful wife and your beautiful offered for the wedding. I was like, 'Abso-f—ing-lutely not.' I don't want anybody to know where I live or what I drive or what I do in my spare time. And nowadays that's currency — people filming their entire lives. Call me the old man, but I'm trying to go the complete opposite direction of that. One could argue that your resistance isn't helpful for your career.I'm fine with that. Fine because you're OK money-wise?I'm sure that plays into it. But, man, my childhood is in a box in my mom's attic. And nowadays everybody's childhood is on the internet for the whole world to see. I'm just not down with that. I don't want to make money off of showing everybody how great my life is. Because it is f—ing great. I feel like I could make $100 million a year if I was a YouTuber — it's movie s—. The way it started, the way I came up, the woman I married, the child I had — there's no holes. Where does the pain in your music come from?I've thought about that for a long time. I don't think it's the entire answer, but I think if your parents divorced when you were little, for the rest of your life there's gonna be something inside you that's broken. My parents' divorce was pretty rowdy, and I remember a lot of it. And I don't think those things ever fully go away. How do you think about the relationship between masculinity and stoicism?It never crosses my mind. Is your dad a guy who talks about his feelings?F— no. Was he scary?I think he could be. My dad's the s—. He's the baddest son of a bitch I've ever met in my life. What image of masculinity do you want to project for your son?When I think about raising Major, I just want him to want to win. Can fully understand you're not always going to, but you should always want to, no matter what's going on. I hope he's a winner. When's the last time you cried?Actually wasn't very long ago. A good friend of mine died — Ben Vaughn, who was the president of my publishing company in Nashville. I played 'L.A. Freeway,' the Guy Clark song, at his memorial service a couple weeks ago. That got me pretty good. You said you're OK if fans don't like this record. I don't need anyone else to like it. I hope that they love it — I hope it hits them right in the f—ing gut and that these songs are the ones they go listen to in 10 years when they want to feel like they did 10 years ago. That's what music does for me. But I know not everybody feels music as intensely as I do. Was that true for you as a kid?Even 6, 7, 8 years old, I'd listen to a song on repeat over and over and over again. I can't explain how deeply emotional songs make me — it controls my entire being. The right song in the right moment is everything to me. Where I live, there's a road called River Road, in the Hill Country in Texas. It's the most gorgeous place you've ever been in your life, and I'll go drive it. I know the exact minute that I should be there in the afternoons at this time of year to catch the light through the trees, and I'll have the songs I'm gonna play while I'm driving that road. You know what song you want to hear at a certain bend in the a little psychotic. Are you one of these guys who wants the towels to hang on the rack just so?I like things very clean and organized. Is that because you grew up in that kind of environment or because you grew up in the opposite?My mom was very clean and organized. But I don't know — I've never one time gone to bed with dirty dishes in the sink. My wife cooks dinner all the time when I'm home, and as soon as we're done, I do all the dishes and load the dishwasher and wipe the counters down. You could never just chill and let it it's messy. It's gross. Do people ever interpret your intensity as, 'This dude's kind of a d—?'People would always tell me I was cocky, and I'd be like, I don't feel cocky at all. I was raised to have great manners: take my hat off when I meet a lady, look somebody in the eye with a firm handshake, 'Yes, ma'am,' 'No, ma'am,' 'Yes, sir,' 'No, sir,' no matter the age or the gender of the person. Manners were such a crazy thing in my childhood — it's the only way I know how to speak to people. So I've always thought it was so weird, in high school, girls would be like, 'Oh, you're so cocky.' I mean, I've seen the 'What Kinda Man' video. You obviously know you look cool.I don't think that at all. I think I look kind of dumb. I'm not sure whether to believe you.I couldn't be more serious. This is very weird for me to say, but Frank finally put into words what I've always felt with every photographer, anybody I've ever worked with in the business since I was 19 years old — he said, 'This record sounds like Parker's heart and mind and not his face.' The fact that I'm not 5-foot-7 with a beard and covered in tattoos — it's like nobody ever thinks that the songs are gonna have any integrity. Boo-hoo for the pretty always called me 'Hollywood,' 'pretty boy,' all this stuff. I guess it's better than calling you a f—ing fat-ass. But I've never tried to capitalize on that at any point in time. I've always just wanted to be a songwriter. But you know how to of? Come on, man — the gold chains, the Lucchese all to compensate for the fact that I don't know what the f— to wear. I know I like gold and diamonds. Loved rappers when I was younger. Waylon Jennings wore gold chains and diamonds, Johnny Cash did — they always looked dope. I was always like, I want to do that too. If the fans' approval isn't crucial, whose approval does mean something to you?George Strait. John Mayer. Steve Earle. My older brother. My dad. You know Mayer?We've talked on Instagram. Why is he such a big one for you?The commitment to the craft, I think, is what I've admired so much about him. It's funny: When I was younger, I always said I was never gonna get married and have kids because I knew John Mayer was never going to, and I really respected how he was just gonna chase whatever it is that he was chasing forever. Then he got into records like 'The Search for Everything' and 'Sob Rock,' and he kind of hints at the fact that he missed out on that — he wishes he had a wife, wishes he had kids. That really resonated with me. I was like, all right, I don't want to be 40 and alone. It completely changed my entire perspective on my future. You played 'Courtesy Of The Red, White And Blue' by the late Toby Keith at one of Donald Trump's inaugural balls in January. What do you like about that song?I bleed red, white and blue. I'm all about the United States of America — I'm all about what it stands for. A lot of people get turned off by that nowadays. I don't care — I'm not worried about if you're patriotic or not. But Toby was a great songwriter, and I love how much he loved his country. In that Texas Monthly interview, you said you felt it was embarrassing for people to be affected emotionally by an artist's political used to talk about it, and now it's so polarizing. Am I not gonna listen to Neil Young now? I'm gonna listen to Neil Young all the f—ing time. Why do you think audiences started caring?Social media and the constant flood of information and political propaganda that people are absorbing around the clock. It's just so dumb. I've got guys in my band and in my crew that are conservative and guys that are liberal. It makes no difference to me. Of course you knew how your involvement with Trump would be about being 16, wanting to be a country singer, then getting to go play the presidential inauguration. What a crazy honor. There's not a single president in history who was perfect — not a single one that didn't do something wrong, not a single one that only did wrong. I just don't care what people think about that stuff. Everybody feels different about things, and nowadays it's like two sides of the fence — you either agree with this or you agree with that. I'm not that way. What do you think happens next for you?This is the only record I've ever made that I didn't think about that as soon as I walked out of the studio. I have no idea what the next record is gonna be. Not a clue. If we meet again in two years and you've made a record full of trap beats, what would that mean?Probably that I was on drugs again.
The Review Geek
01-07-2025
- Entertainment
- The Review Geek
Turnstile – Never Enough
Track List NEVER ENOUGH SOLE I CARE DREAMING LIGHT DESIGN DULL SUNSHOWER LOOK OUT FOR ME CEILING SEEIN' STARS BIRDS SLOWDIVE TIME IS HAPPENING MAGIC MAN Turnstile has become such a heralded band in the scene, securing a fan-base which hangs on every word. Well, the band are back and have now released Never Enough, delivering a collection of songs that bloom with guitar wizardry and empathetic lyricism. Pushing for luck and hope, the outfit dream big dreams, though sometimes it all frays and unravels into a mental breakdown. On this record, they convey feelings that are stretched to the limit, while trying to keep everything going. The riffs are as pleasing as ever, pushing the guitar sound to the echelons. They deliver an empowering, often, mind changing effect. This is due to the band's quality, their endurance, and their passion. Turnstile aren't a one-dimensional carbon copy either, as their music hits on a different level. 'Never Enough' begins the record with a sweet drive into a love story which falls deeply into a fight. The instrumentals are complex as always, and the intro carries a great weight, delivering a compelling start. By comparison, 'Dreaming' opens slowly and then sounds like it's about to explode. The guitars and percussion are on point, while the lyrics tell us about colours and broken truth. 'Ceiling' is worth mentioning too, given it delivers a subtle intro. The vocals are timeless, and they're undeniably gracious. The grooves and beats are monumental, weaving that in with a slick style to deliver an immersive track. Overall, Turnstile turn on the style with their latest LP, Never Enough. They portray through their music and lyrics a fight for endless hope, making for a solid listen.
