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Vildhjarta Announce First Album in 10 Years, Drop Two New Songs Today

Vildhjarta have finally announced their long-awaited sophomore album. Along with the release info for måsstaden under vatten , the Swedish djent act have revealed two new songs — “kaos2” and “toxin.”

Vildhjarta’s new album is the band’s first in 10 years, following the breakthrough Måsstaden in 2011. måsstaden under vatten was originally called Kaos 2 when the record was announced in late 2019, but its release was delayed. The single “ Den Helige Anden ” gave fans their first taste of the new Vildhjarta record, which features a staggering 17 tracks.

Addressing the long span of time between studio albums, Vildhjarta simply comment, “Art happens when art happens.”

Take a listen to both “kaos2” and “toxin” below once they go live at 12N ET.

Vildhjarta, "kaos2"

Vildhjarta, "toxin", vildhjarta, måsstaden under vatten  artwork + track listing:.

Pt 1: 1.  lavender haze 2.  när de du älskar kommer tillbaka från de döda 3.  kaos2 4.  toxin 5.  brännmärkt 6.  den helige anden (under vatten) 7.  passage noir 8.  måsstadens nationalsång (under vatten) 9.  heartsmear

Pt 2: 1.  vagabond 2.  mitt trötta hjarta 3.  detta drömmars sköte en slöja till ormars näste 4.  phantom assassin 5.  sunset sunrise 6.  sunset sunrise sunset sunrise 7.  penny royal poison 8.  paaradiso

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m​å​sstaden under vatten

By vildhjarta.

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Century Media Records Dortmund, Germany

A metal label with diverse tastes, Century Media arose from humble origins as a bedroom label based out of Dortmund, Germany in 1989 and have expanded greatly over the past 30+ years. Acting as a beacon of professionality, reliability, and an unwavering dedication and passion to the most important thing of all – the music – Century Media are a flagship label in the metal and hard rock fields. ...   more

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Vildhjarta Concert Setlists & Tour Dates

Vildhjarta at euroblast 2022.

• Mist Förståndet
• Benblåst / The Lone Deranger
• Introduction: Staos
• Eternal Golden Monk
• Detta Drömmars Sköte en Slöja Till Ormars Näste / Phobon Nika
• När de du Älskar Kommer Tillbaka från de Döda
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Vildhjarta at Complexity Fest 2022

Vildhjarta at high 5ive - summer fest 2022, vildhjarta at hellsinki metal horizons 2022.

• En mörk vit lögn
• Detta Drömmars Sköte en Slöja Till Ormars Näste
• Phobon Nika

Vildhjarta at Techfest 2019

• Längstmedån
• All These Feelings

Vildhjarta at Euroblast 2018

• When No One Walks With You

Vildhjarta at Vagos Open Air 2015

Vildhjarta at brutal assault xx, vildhjarta at euroblast vol. x, vildhjarta at kb18, copenhagen, denmark.

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• Dagger ( 30 )
• Shadow ( 28 )
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• All These Feelings ( 24 )
• Benblåst ( 24 )

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152 people have seen Vildhjarta live.

ReachTheSun BjoernKW liveATgigs AndersHernes Saftrabe 3-Stadt cmdqol Mitxi-progger drf1223 Ananoriel Axel_D Epzilona Vildstjarna ArachnidShelter faultfracture Thallinator Youngwarrior Chocosex Dwun Kaospojken Matizu Tiphereth87 RevaSharkbait Csabika71 sodawillow flohfish Phanboirojoey Megadedhed lotti_hohmann camij aXe_sh0ck MK-Thein elCartucho donovan miguelsolans therainman 666C3po999 Tiago-Queiros Malkato LA666 pabaptista infernalord BlackStone tiagomrsousa morb macieira Shadegrown Stormbringer49 SceneryOfLoss JudasChrist

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Charlie Woods will play U.S. Open local qualifier Thursday

Charlie Woods looks to earn a spot at this year's U.S. Open at Pinehurst No. 2. (Cliff Hawkins/Getty Images)

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Charlie Woods’ road to Pinehurst begins Thursday.

Woods, the son of 82-time TOUR winner Tiger Woods, will compete in an 18-hole U.S. Open local qualifier Thursday at The Legacy Golf & Tennis Club in Port St. Lucie, Florida. The younger Woods is slated to tee off at 8:18 a.m. ET Thursday.

The road to the U.S. Open features 109 local qualifying sites across April and May, leading to 13 Final Qualifying sites in late May and early June. Final Qualifying is known as Golf's Longest Day, requiring competitors to navigate 36 holes to earn a tee time at the season’s third major championship.

To be eligible for qualifying, a player must have a Handicap Index not exceeding 0.4 or be a professional.

The elder Woods is a three-time U.S. Open champion, but he has yet to win at Pinehurst No. 2. Tiger Woods finished T3 at Pinehurst in 1999, two strokes back of winner Payne Stewart, and he placed solo second at the venerable venue in 2005, two back of Michael Campbell. He didn’t compete at Pinehurst in 2014.

Earlier this spring, Charlie Woods competed in a pre-qualifier for the TOUR’s Cognizant Classic in The Palm Beaches, his first foray at attempting to qualify for a TOUR-sanctioned event. The younger Woods shot 86 that day but will look to apply learnings in Thursday’s U.S. Open local qualifier.

Tiger and Charlie Woods have paired together in the last four PNC Championships, the two-player team event contested each December that utilizes a scramble format. Team Woods finished runner-up in 2021 but has yet to win the event.

Other notables in the field at Woods' site include Cameron Kuchar (son of Matt), Sunny Kim, Garrett Willis, Reed Greyserman (brother of Max), Austin Lemieux (son of Mario) and Michael Buttacavoli.

Wrexham to play Bournemouth, Whitecaps in US summer tour

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Designed for the all-day grinders and dawn-patrollers, destined for the feet of the dedicated that just moseyed back to the driving range after 18. They give you robust comfort and unreal energy return, whether you're swinging through or playing through, while all-new spikes offer exceptional traction from tee to green. Plus, the old-school look will earn a knowing head nod from your peers after picking your putt out of the cup.

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Veil of maya announce more headlining dates with structures, vildhjarta, etc..

11/08 Minneapolis, MN – Skyway Theatre 11/09 Milwaukee, WI – Wisconsin Metalfest 11/10 Cleveland, OH – Ohio Metalfest 11/11 Indianapolis, IN – Emerson Theater 11/13 Tupelo, MS – Goodtime Charlies 11/14 Pensacola, FL – American Legion 11/15 Houston, TX – Walters 11/16 Ft. Worth, TX – Tomcats 11/17 Austin, TX – Red 7 11/19 Phoenix, AZ – Joe’s Grotto 11/20 San Diego, CA – SOMA 11/21 Santa Cruz, CA – The Catalyst 11/22 Sacramento, CA – Boardwalk 11/23 Anaheim, CA – Chain Reaction 11/25 Albuquerque, NM – Blackwater Music 11/27 St. Louis, MO – Fubar 11/30 Birmingham, AL – Zydeco 12/01 Orlando, FL – The Social 12/02 Atlanta, GA – Masquerade (feat.  Protest The Hero ) 12/03 Columbus, SC – New Brookland Tavern 12/04 Raleigh, NC – Southland Ballroom 12/05 Springfield, VA – Empire 12/06 Allentown, PA – Croc Rock 12/07 New York City, NY – Gramercy 12/08 Danbury, CT – The Heirloom Arts Theatre 12/10 Worcester, MA – The Palladium 12/11 Montreal, QC – La Tulipe 12/12 Toronto, ON – Annex Wreckroom 12/13 Detroit, MI – The Shelter 12/14 Chicago, IL – Reggies

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All the proof Taylor Swift is making first major change to Eras Tour

Welcome to "The Tortured Poets Department" (Eras Tour Version).

It looks like Taylor Swift 's Eras Tour is getting a brand new era, straight from the Tortured Poets Department .

Since the announcement of her new 11th studio album ( which dropped April 19 ), fans have been anxiously waiting to see if her worldwide, career-spanning tour would get a shakeup to accommodate the new music. While Swift is remaining mum, and a rep for the singer didn't respond to an EW request for comment, a new YouTube Short posted to Swift's account seems to provide all the clarity Swifties needed that a change is imminent.

In the video, which is part of Swift's #ForAFortnightChallenge tied to the album's first single, "Fortnight," the 14-time Grammy winner can be seen rehearsing for tour with her backup dancers. While some shots are obviously from the Folklore , Lover , and other existing "eras" of the show, several blink-and-you'll-miss-it moments have never been seen before.

In one, Swift, clad in workout gear, appears to be wearing the same boots seen in her "Fortnight" video . She's holding on to a banister that looks like it has the Tortured Poets Department emblem on it — the "P" and the "D" can just be made out.

taylor swift/youtube

Although the video is in grayscale, and therefore exact colors are impossible to identify for sure, several shots feature what looks like a new white-ish mic, which has never been seen before. The new era's color, of course, is also an off-white hue.

Perhaps the most interesting moment of the new clip, though, is one that features what looks like new choreography and costumes. Swift's backup dancers can be seen in top hats and dancing with canes, while she sings in the front middle of the group — choreography and props which have so far not been featured in the concert.

This is all speculative until the tour resumes in Paris, France, on May 9, of course, but if Swift is adding a whole new era, it would mark the first major change to the setlist since Swift began performing it last March.

Throughout the tour, she's made little swaps here or there: She added performances with some of the artists who opened for her like HAIM or Phoebe Bridgers, and she added "Long Live" to the Speak Now section when that re-recorded album released during tour. She also swapped out "Invisible String" for the "The 1" in the Folklore section after news of her split with Joe Alwyn broke.

But, nothing has majorly been added or subtracted from the show, which is already a whopping three-and-a-half hours long. Now, if anyone could pull off adding more runtime to Eras, it's the "Mastermind" herself, but it's more likely that some songs will be getting cut to make room for new material. Fans have theorized that the tracks that didn't make it into the VOD rental of the Eras Tour concert film — "The Archer," "Wildest Dreams," "Cardigan," and "Long Live" — could be first on the chopping block, but we'll just have to wait and see what Ms. Swift has up her cryptic and Machiavellian sleeve.

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• Ethan Hawke and Post Malone experiment on Taylor Swift's mind in surreal 'Fortnight' music video
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‘The working class can’t afford it’: the shocking truth about the money bands make on tour

As Taylor Swift tops $1bn in tour revenue, musicians playing smaller venues are facing pitiful fees and frequent losses. Should the state step in to save our live music scene?

W hen you see a band playing to thousands of fans in a sun-drenched festival field, signing a record deal with a major label or playing endlessly from the airwaves, it’s easy to conjure an image of success that comes with some serious cash to boot – particularly when Taylor Swift has broken $1bn in revenue for her current Eras tour. But looks can be deceiving. “I don’t blame the public for seeing a band playing to 2,000 people and thinking they’re minted,” says artist manager Dan Potts. “But the reality is quite different.”

Post-Covid there has been significant focus on grassroots music venues as they struggle to stay open. There’s been less focus on the actual ability of artists to tour these venues. David Martin, chief executive officer of the Featured Artists Coalition (FAC), says we’re in a “cost-of-touring crisis”. Pretty much every cost attached to touring – van hire, crew, travel, accommodation, food and drink – has gone up, while fees and audiences often have not. “[Playing] live is becoming financially unsustainable for many artists,” he says. “Artists are seeing [playing] live as a loss leader now. That’s if they can even afford to make it work in the first place.”

Potts, who works at Red Light Management – home to everyone from Sabrina Carpenter to Kaiser Chiefs and Sofia Kourtesis – feels like there is an industry equivalent of the Spider-Man meme in which they are all pointing to one another. “People who work at labels think bands make loads of money touring, while booking agents think they make loads of money on publishing and so on,” he says. “Everyone thinks artists make money from the other side of the industry they’re not involved in.

“Artists are the biggest employers in the industry. They pay for the tour manager, session musicians, agent, manager, crew, insurance, travel, accommodation, equipment, rehearsal space, production. Everything. I don’t think people know this is all the stuff that the artist pays for and does.”

“Greater transparency is needed,” says Lily Fontaine, lead singer of Leeds band English Teacher. On paper, the four-piece appear to have made it. They are signed with a major label, Island, have played on Later With … Jools Holland, get healthy BBC Radio 6Music airplay, their debut album has received five-star reviews and they are about to embark on their biggest tour to date, which includes an 800-capacity home-town show.

“The reality is that it’s normal for all of these achievements to coexist alongside being on Universal Credit, living at home or sofa surfing,” says Fontaine. During the making of their debut album, she and bandmate Lewis Whiting did the latter while unable to afford rent.

In their four years of existence, English Teacher have yet to turn a profit from touring. “We’ve never directly paid ourselves from a gig,” says Whiting. “A headline tour usually comes out with a deficit. The only thing that we ever make any kind of profit on is festivals, because the fees can be higher, but any money left over just goes towards the next outgoings.” A successful show for the group in the past has been defined by whether they can flog enough merch to afford a supermarket food shop.

So how do they survive? “In the world of artists, we’re in a lucky position,” says Whiting. “We try to pay ourselves £500 a month each from the band pot.” However, they’ve been reliant on their advance for this, which is now gone. “We’re now in that stage where we’re gonna have to figure out where that £500 a month is gonna come from,” says Fontaine. “Because the gig fees won’t be able to cover that.” The band estimate that their 16-date UK tour in May will generate roughly £800 profit. But, says Fontaine, “realistically, I don’t think there will be any profit because things always go over budget”.

For many artists, fees aren’t increasing in line with costs. “There’s been no real incline at all,” says Potts. “For support slots, I don’t think the fees have changed in the last 10 years or so that I’ve been managing, whether that’s £50 at the smaller end or £500 quid for some of the biggest shows.” Fees for headline shows can vary enormously for bands, even on the same tour. Playing a 200-capacity club in Newcastle may land you £600, while a 1,500 cap in London may net you £3,000.

And fewer people are coming to shows at the small-to-mid-sized end of things. “In our audience data, we see there is a gap in new audiences coming through post-pandemic,” says the FAC’s Martin. “As well as a bit of a drop-off in some of the older audiences returning to live shows.” However, despite stagnant fees and shrinking audiences, touring activity in the UK is at a peak. Due to the costs of touring Europe (which can be thousands in taxes and carnet alone) 74% fewer UK bands are now touring Europe post-Brexit. “It’s much more difficult to tour in Europe so there are more artists trying to perform domestically,” says Martin. “That creates a saturation problem.”

For this article, the Guardian has seen 12 tour budget sheets for various bands and artists varying from up-and-comers to firmly established and successful acts, all of whom regularly undertake headline tours across the UK in venues ranging from 150 to 2,500 capacity. Almost all of these result in losses. Understandably, most shared their balance sheets on the condition of anonymity. One four-piece indie band, whose last two albums went Top 10 in the UK charts, reported a loss of £2,885 from a six-day UK tour. The only tour that shows anything resembling healthy profit was a 29-date tour for a solo artist who came away with £6,550. Not bad going for a month’s work but, as Martin points out, “that’s then his touring done for the next six months. So it’s not enough money.”

Nubiyan Twist are a nine-piece Afro-jazz outfit who have a loyal following and tens of millions of streams on Spotify, “We pride ourselves on being able to put on a big show, like your Fela Kutis or James Browns, these epic spectacles,” says bandleader Tom Excell. “But it’s getting more difficult, without a shadow of a doubt.” For an upcoming eight-show tour of Europe, they are predicting a loss of £4,931.28. The only way they can justify doing it is because they got funding from the BPI Music Export Growth Scheme. “I would have just pulled the plug if it wasn’t for that,” says Excell. “I’ve got a two-year-old and I can’t be away from home for that long and come back with a loss.”

Even when the band get more lucrative fees for festivals it’s still tough. They will be paid £5,000 for a festival performance this summer but the total profit after band wages (as Excell pays all his band members in full first) expenses and commissions are paid out will be £277.60. “After four albums and 15 years doing this, to still be having to gamble on whether I’m going to make anything, while everyone else gets paid a guaranteed amount, is a struggle,” admits Excell.

Such thin margins leave little wiggle room, as the space-surf band Japanese Television (who headline 100-300 capacity venues) found out when their booking agent reduced their 13-date UK and EU tour to eight shows with a five-day gap in the middle that will add a further loss of around £1,200 to a tour that is already set to lose them around £700. “Records and T-shirts are basically what keeps us going,” says the band’s Tim Jones. “The only way this tour is working for us is because we just put out our second album and we did about 60 presales on the vinyl and that was basically enough to pay for the van. It’s a hobby that just about pays for itself.”

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The question is: who else will be able to afford to pursue music as a hobby? “It depresses me how many middle and upper class people there are in the music industry,” says manager Potts. “Because the working class just can’t afford to fork out £150 a day for van hire. The only artists doing that are people who have deeper pockets and can afford to take the hit.”

Of course, every act is different in terms of what they justify as reasonable outgoings and not everyone has the same costs, but Potts says from his experience, generally speaking, bands with four or five members now need to be playing 2,000+ capacity venues nationwide to “really start to see things tip”. That tipping point is out of reach for the majority. “Most people don’t actually get to that level,” Potts says. “Just look back at any festival lineup from 10-20 years ago and see which names are still on festival bills and how many you’re like: what happened to them?”

The gap between those who are flying and those who are floundering has become even more stark. “It feels like the top 1% have become the top 0.5%,” says Martin. “The level of artists we’re talking about here that are struggling to make things stack up financially would really surprise people.”

In 2022, the Grammy-winning Pakistani singer Arooj Aftab posted on X: “Touring has been amazing. We headlined a ton, had massive turnouts and have proven ourselves in all the markets. Yet still, running tens of thousands in debt from the tour and I’m being told that it’s ‘normal’. Why is this normal? This should not be normalised.”

I’m told that one US artist – who released one of the most critically acclaimed albums of 2023, which went Top 10 and placed very highly on numerous year-end polls and was nominated for a major award – worked out that the only way she could make her UK tour work was by sub-letting her home.

It’s a far cry from Taylor Swift’s record-breaking Eras jaunt. “The very high end of the live industry is reporting record profits,” says Martin. “You can’t have a healthy music ecosystem where at one end you’ve got people going ‘we’ve made more money than we’ve ever made’ and at the other end you’ve got relatively successful artists that are sofa-surfing while signed to a major label.”

Is there an answer? “When you’re touring Europe, you realise how much state funding in the arts there is,” says Excell. “It really needs more state funding and support from the top down.”

Martin echoes this. “The government needs to start looking at spending money on the music industry as an investment rather than as a cost,” he says. “But you also need to support a sector in a time of crisis. And this is a time of crisis.”

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• Taylor Swift

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Is Taylor Swift Teasing Eras Tour Changes in New Rehearsal Clip? See Why Fans Think She's Adding TTPD

"ALL OF THIS IS NEW," an eagle-eyed fan said of the theory

Neilson Barnard/Getty

Taylor Swift fans think the pop star could be making changes to her Eras Tour!

The Grammy winner, 34, has been sharing YouTube Shorts as of late with The Tortured Poets Department -related content. Her eleventh studio album was released just in time for the European leg of her Eras Tour and Swifties are convinced that her latest rehearsal clip hints at songs from the new collection joining the setlist.

“HOW IS NO ONE TALKING ABOUT THE TTPD SIGN SHES LEANING AGAINST?! OR WHAT ABOUT THE FACT THAT THE DANCERS ARE IN TOP HATS!?! ALL OF THIS IS NEW, ” YouTube user @bethanymills1293 commented on the clip.

Taylor Swift

Swift’s YouTube Shorts video is set to her new single “Fortnight,” which features Post Malone . 

In the music video for the track, the “Clara Bow” singer can be seen sitting in a room full of typewriters around the 1:39 mark. The men in the background are all wearing top hats. 

Taylor Swift/Youtube

Fans think that the superstar may begin incorporating elements of the new album into her shows when the Eras Tour picks back up in Paris in May.

As part of the TTDP rollout, Swift told Amazon Music that "Fortnight" "exhibits a lot of the common themes that run throughout this album," one of the biggest being "fatalism — longing, pining away, lost dreams."

"I think that it’s a very fatalistic album in that there are lots of very dramatic lines about life or death. ‘I love you, it’s ruining my life.’ These are very hyperbolic, dramatic things to say,” she said . “It’s that kind of album.”

When iHeartRadio premiered the album during a special listening event, Swift shared some more “Fortnight” tidbits.

Taylor Swift/ Youtube

“A lot of the songs on The Tortured Poets Department deal with the idea of heartbreak or loss in a metaphor of something else,” she said while introducing the song. 

Since the album’s extended Anthology edition was released on April 19, it has already hit 1 billion Spotify streams in under a week. 

The record-breaking 31-track album has eclipsed two of Swift's own albums — Midnights and 1989 (Taylor's Version) — which previously held the record.

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Much of the album’s success can be attributed to having “Fortnight” as the breakout single. 

"I’ve been such a huge fan of Post because of the writer he is, his musical experimentation and those melodies he creates that just stick in your head forever," she wrote on Instagram after announcing it would be the album's first single.

"I got to witness that magic come to life firsthand when we worked together on Fortnight."

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