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Based in Los Angeles since 2016, her0ism has carved out a career in the forefront of the global music industry. The Japanese producer and songwriter has produced numerous hit songs on an international scale, and his recent works include tracks for XG and BLACKPINK’s LISA’s “Dream” from her album Alter Ego, which topped Billboard’s Top Album Sales chart and debuted at No. 7 on the Billboard 200. One of the producers on ever.y, his creative team, achieved a major milestone this year when Doechii’s Alligator Bites Never Heal, which the producer contributed to, won the Grammy for best rap album.

her0ism sat down with Billboard Japan and shared his thoughts on the influence of J-pop on Western pop music and elaborated on his recent efforts to establish a new category in the Grammys called the Asian music performance award.

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How was the recent Grammy Awards ceremony?

Doechii’s album Alligator Bites Never Heal won best rap album this year, and Peyote Beats, a producer on our creative team ever.y, had worked on it. I’d been invited to the ceremony every year but this was the first time I was involved in such a close capacity. The award for best rap album was announced at the start of the evening’s proceedings. It was the first time Peyote had attended the event and to be honest, he wasn’t quite mentally prepared. So when the presenter said “Doechii!” he burst into tears. We got up and hugged each other in joy. My goal has been to win a Grammy and I’d worked towards it for a long time, but until that moment, it still felt distant, like something happening on TV.

Peyote Beats is an Armenian-American from Los Angeles. It’s interesting that a producer with such a background is interested in J-pop.

He comes from an immigrant family and I think they went through some hard times. So, yes, it is interesting that someone with that background is interested in J-pop. I’ve also wondered about that, and think he’s drawn to J-pop’s melodies.

Could you elaborate on that?

Hip-hop basically places emphasis on the track, but the songs he writes have counter melodies, with guitars and other instruments singing, and I think that’s largely influenced by the melodic elements of J-pop. I played Fujii Kaze’s music in the studio and he’s been into that recently. And it’s not just him, I’m sensing that J-pop is gradually spreading in the U.S., and that this year will be the starting line for the genre overseas.

Working in the States, I really feel the popularity of XG. They’re promoting a hybrid genre they call “X-POP” and it skillfully combines the melodic aspects of J-pop with the foundation that K-pop has built up Stateside. Their song “IN THE RAIN” that I helped produce is R&B, but the melody is emphasized and it’s recognizable as having Japanese influences. I think that kind of thing is starting to be accepted. I made this song with my partner Shintaro Yasuda, and he also makes hip-hop with a great sense of melody.

Tell us about your current efforts involving the Grammys. I hear there are some new developments.

I’m a Recording Academy voting member, and I’m also in charge of the screening process for the different genres. Recently, I was approached by the Recording Academy about the possibility of creating a new Asian category at the Grammys. When I spoke at a panel discussion at SXSW, I met a guy named Ralph from the Recording Academy at a party and he said to me, “If you’re making so many songs (for Asian acts), why don’t you create an Asian category?” and I was like, “You can make categories?” Ralph asked me to apply for it, and I had to become a voting member to apply. So last year, I applied for it with Mr. Kato from Project Asteri, but we were rejected. And I was like, “Why are we being rejected when we were asked to apply?” But apparently, Ralph needed to let people within the Recording Academy know that this kind of action was being initiated. Once a category is created, judges would be needed, but currently only about 4% of the voting members are Asian. There’s a huge lack of professionals who can make these decisions, so we need to increase the number of Japanese voting members and also need to do some promotional activities to achieve this.

If an award for Asian music performance can be established, it would bring about a huge change. In the same way that music from Central and South America is categorized under “Latin,” the music scene across Asia would become categorized under “Asian.”

Right. Coincidentally, I feel like I’ve finally moved on to the first page of my own career, having worked on a song for LISA and watching XG’s reach spread globally. My music publishing contract has also changed. I’ve signed a worldwide contract with Sony Music Publishing L.A., the American branch of Sony Music Publishing. Apparently, no Japanese person has done this before. Until now, even though we’d received offers, there were differences in the publishing rules between Japan and elsewhere, so it was difficult to make progress. But we’ve finally been able to sign a contract that forms the basis for competing on a global scale, so that also feels like the first page of a new chapter. There’s talk of J-pop spreading globally, and there’s also talk of the potential new Grammy category, so I feel like this year is truly the starting line. A new awards called Music Awards Japan will also take place in Kyoto in May to promote Japanese music globally. The timing is excellent.

What are your hopes and visions for the future?

Personally, I’m still in the middle of my challenge, and just reached the starting line. I want to produce American artists and Asian artists without any distinction. I can share things that other (Japanese) producers don’t have because I’m based in the U.S. I think there’s a kind of J-pop that can only be done because I’m not in Japan, and that there will be more things expected of me because I’m Japanese in the U.S. I want to keep moving forward and build on that over the next ten years. I also think it’s necessary to create an environment where my juniors can follow in my footsteps. I want to continue fulfilling my dreams in the future so I can show that making music is a dream-inspiring profession.

This interview by Tomonori Shiba first appeared on Billboard Japan.

As Spiritbox prepare to release their second album, vocalist Courtney LaPlante has gone on record to decry the unapproved release of their latest single.
The news comes just days away from the arrival of Tsunami Sea, Spritbox’s new record which is currently scheduled to drop on Friday (March 7) via the band’s own Pale Chords label and Rise Records. The album has been previewed since September, with the release of first single, “Soft Spine.” In November, this was followed by “Perfect Soul,” and again in February with the release of “No Loss, No Love.”

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Eager fans of the band may, however, have noticed the release of a new single titled “Crystal Roses” appearing on streaming services on Monday (March 3). According to a post shared on social media by LaPlante, issuing a new single in the week of the album’s release was not part of their approved rollout plan.

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“I don’t normally like to air out behind the scenes things like this, but we did not approve putting out another single today,” LaPlante wrote. “None of us were aware this was happening. I am extremely disappointed and only found out about it late last night, by chance. Trying to take it down asap.”

“Crystal Roses” has since been removed from streaming services, with only the previously-released singles available for listening ahead of the album’s official release.

This isn’t the first mishap which has befallen Spiritbox in recent months, with the band having recently been thrust into the spotlight thanks to a case of mistaken identity.

Appearing at the Grammys on Feb. 2 where the band were nominated in the best metal performance category, LaPlante spoke to an interviewer who had mistaken her for Poppy (whose “Suffocate” collaboration with Knocked Loose was up for the same award). Offering a slightly confused look to the off-camera interviewer, LaPlante decided instead to roll with it and continued the conversation as her fellow nominee.

“I am Poppy, and I am really happy to be here, nominated with Knocked Loose,” LaPlante replied slyly. “I really hope we win.”

Noting she had just finished chatting to Judas Priest, the interviewer went on to mention it wasn’t Poppy’s first time being nominated, referencing her nod for “Bloodmoney” in 2021.

“Really happy to be here again, would love to take home the Grammy for Knocked Loose and myself because I would be the first woman to win this award,” LaPlante added. “I actually haven’t looked at [how many women have been nominated previously] but I just always know that it’s time for one of us to win. I hope it’s me, or Spiritbox and Courtney.”

Ultimately, the award was won by French band Gojira, whose performance of “Mea Culpa (Ah! Ça ira!)” (as heard at the 2024 Olympics opening ceremony) was a collaboration with Swiss soprano Marina Viotti and Victor Le Masne.

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The music industry’s biggest night is shaping to be something special. Doechii has been confirmed to perform at the 2025 Grammy Awards.

As spotted on Rap-Up, the Recording Academy made their first round of announcements of musicians who will perform at the upcoming ceremony. Set to hit the stage are Benson Boone, Billie Eilish, Chappell Roan, Charli xcx, Doechii, RAYE, Sabrina Carpenter, Shakira, and Teddy Swims. All the aforementioned musicians are currently nominated for awards.

Doechii’s Alligator Bites Never Heal is up for the Best Rap Album and her song “NISSAN ALTIMA” is competing for Best Rap Performance. She also has the chance to take home the honor of Best New Artist. 2024 marked her breakthrough year with the success of her mixtape. Doechii’s 19-track effort was her first-ever project on Top Dawg Entertainment and featured several breakout singles including “Boom Bap,” and “Denial Is a River.”

The 67th Annual Grammy Awards will not only honor the very best in music but will also raise funds to help those who were impacted by the Los Angeles wildfires. “The upcoming Grammy Awards won’t just be about celebrating and honoring the best in music this year, it will also show how the power of music can help rebuild, uplift and support those in need,” said Recording Academy CEO Harvey Mason Jr. “We are thrilled that so many artists in our community are banding together at this time to show support for their fellow music makers and others impacted by the recent wildfires.” 
The 67th Annual Grammy Awards will air Sunday, Feb. 2, 2025, at 8 p.m. ET/5 p.m. PT on CBS Television Network.

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It seems that the 2025 Grammy Awards will be very lively from the opening. Trevor Noah has been slotted as the host for this year’s event.

As spotted on Variety, the comedian will be the master of ceremonies for the 67th annual Grammy Awards. This will be Trevor Noah’s fifth time hosting the star-studded affair that honors the very best in the music industry. The 2025 Grammy Awards will be hosted at the Crypto.com Arena in Los Angeles. According to a press release, this edition will “will carry a renewed sense of purpose: raising additional funds to support wildfire relief efforts and honoring the bravery and dedication of first responders who risk their lives to protect ours.”

This is not the first time Trevor Noah has served as the host for music’s biggest night. He has previously hosted the 63rd Annual Grammy Awards, the 64th Annual Grammy Awards, the 65th Annual Grammy Awards, and the 66th Annual Grammy Awards. The 2025 Grammy Awards will be broadcasted live on the CBS Television Network and will be available for streaming live and on-demand on Paramount+ on Sunday, Feb. 2.

Enigmatic English electronic extraordinaire Aphex Twin (aka Richard D. James) has released a surprise compilation album, with Music from the Merch Desk (2016–2023) collecting a number of limited edition recordings from the past decade. Explore Explore See latest videos, charts and news See latest videos, charts and news Released on Tuesday (Dec. 17) without any […]

After more than a decade away from the iconic performing space, Katie Crutchfield has brought Waxahatchee back to NPR‘s Tiny Desk Concert series.
Appearing in support of her latest album, the Grammy-nominated Tiger’s Blood, Crutchfield ran through a five song set which included three tracks from her latest record, alongside the recent single “Much Ado About Nothing” and 2020’s “Fire”.

Backed by a full five-piece band, the performance is a picture of evolution for the Alabama musician, whose 2013 debut on the series in support of Cerulean Salt is one she looks back on with some mixed emotions.

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“I have been here before, it was about 11 years ago,” Crutchfield explained during her set.

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“I sort rolled out of the tour van, I didn’t realize I was going in be the NPR building, I sort of didn’t really know what I was doing at all. My amp broke in the middle,” she added. “I’m really happy to be back.”

Taking to her personal Substack newsletter after the fact, Crutchfield reflected on that initial performance, noting it does “leave some room for improvement”.

“It’s giving endearingly green and inexperienced and tiny bangs she cut herself in a hurry,” she wrote. “It’s a sweet little relic of my early 20s but I am thrilled to have been given the opportunity to go back and do it again as a full grown adult with my band and some newer songs.”

Though this latest return to NPR’s Tiny Desk Concert series is her second in-person appearance, Crutchfield did however show up with Kevin Morby in 2020 as part of the lockdown-inspired Tiny Desk (Home) Concert series.

Crutchfield’s latest effort as Waxahatchee, Tiger’s Blood, is currently up for Best Americana Album at the 2025 Grammy Awards in early February. It follows on from an impressive global showing for the record, which also featured a No. 146 position on the Billboard 200 and No. 27 on the Independent Albums chart.

The first five inductions into the Grammy Hall of Fame were announced on the Grammy telecast in March 1974, but it has taken the Recording Academy 50 years to produce a stand-alone event to honor the year’s inductees. Better late than never.

The inaugural Grammy Hall of Fame Gala was held at the Novo Theater at L.A. Live in Los Angeles on Tuesday, May 21.

To produce the event, the Academy and the Grammy Museum, which co-presented the event, turned to Ken Ehrlich, who guided the Grammy telecast for 40 years. To host, they enlisted CBS broadcast journalist Anthony Mason.

Six of the inductees were honored with performances. Four were handled with video tributes.

Some of the artists whose recordings were being honored were present, including William Bell, who performed his own song, “You Don’t Miss the Water;” Lauryn Hill, who was on hand to watch Andra Day perform a song from her inducted album The Miseducation of Lauryn Hill; and Jeff “Skunk” Baxter of the Doobie Brothers, whose “What a Fool Believes” was honored.

In other cases, producers of the inducted recordings were on hand, including Mike Clink (Guns N’ Roses’ Appetite for Destruction) and Prince Paul (De La Soul’s 3 Feet High and Rising). In still other cases, family members were in the audience.

In some cases, the program spelled out exactly why recordings were chosen. Donna Summer’s “I Feel Love” was obviously hugely influential in paving the way for the mainstream acceptance of EDM. Kid Ory’s Creole Orchestra’s “Ory’s Creole Trombone” from 1922, we were told, was the first recording of Black Creole New Orleans jazz.

But in other cases, we were left to wonder. They should always spell out in one sentence exactly why the record was important and/or influential and why it was chosen over the roughly 200 other records that were vying for one of the 10 spots.

In addition to the 10 recordings being inducted, there was a tribute to Atlantic Records on what we were told was its 75th anniversary. (The label was founded in November 1947, so the 75th anniversary has passed.) Three classic Atlantic recordings were performed on the show. A video presentation included many of the label’s greatest artists, though Genesis and Yes seemed to be missing. Atlantic chairperson/CEO Julie Greenwald and chairman/CEO Craig Kallman accepted the honor.

Here are the best moments from the inaugural Grammy Hall of Fame Induction Gala.

Andra Day Honors Donna Summer and Lauryn Hill

Karol G’s first Grammy victory at the 66th annual Grammy Awards (Feb. 4) marks a pivotal moment in her booming career.
Adorned in a light greyish blue gown — her signature long pink hair complementing her ensemble — the celebrated superstar was visibly elated to earn the Grammy for best música urbana album with her groundbreaking 2023 release, Mañana Será Bonito. “Que viva Colombia,” shouted Maluma, her fellow genre peer from Medellín, after Christina Aguilera presented Karol G as the winner.

Already a recipient of five Latin Grammy Awards and four Billboard Music Awards, this Grammy win adds a significant accolade to her collection. Her acceptance speech was a heartfelt reflection of her journey, expressing overwhelming happiness, nervousness and excitement about standing amongst the musical legends she has long admired.

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“Hi everybody, my name is Karol G. I am from Medellín, Colombia. This is my first time at the Grammys, and this is my first time holding my own Grammy,” said Karol during her acceptance speech. “I’m super happy, I’m super nervous, I’m super excited to be in front of so many legends that I admire and respect. This is such a beautiful thing. My album has given me the best memories in my life, my whole life!

“My fans that came and enjoyed my album, and got motivation and inspiration with me, and heal with me. Thank you so much, I promise to give you my best, always, and I hope this is the first of many. So thank you everybody,” she said before shouting out Tainy and Rauw Alejandro, who were up against her in the category.

Regarded as one of this generation’s most influential figures in Latin music, Karol G’s Grammy testifies her profound impact on the music industry. Beyond her numerous awards, she has been honored with the Rulebreaker Award at the Billboard Women in Music and the Spirit of Hope Award at the Billboard Latin Music Awards. She has also broken five Guinness World Records.

From Taylor Swift to Boygenius to SZA , these stars could dominate this year’s Grammys ceremony.

The first time Ana Bárbara was nominated for a Grammy was in 2006, for No Es Brujería in the Best Mexican/Mexico-American Album category. Although she did not win (the award went to Pepe Aguilar), Ana Bárbara, signed at that time to Fonovisa, represented one of the few successful women in grupera and ranchera music — an artist who, beyond having a powerful voice and bringing sex appeal to the stage, also wrote her own songs.

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Now, almost 20 years later, Ana Bárbara (real name: Altagracia Ugalde Motta) has earned her second nod. Her exquisite Bordado a mano (Embroidered by hand) — which includes duets with Vicente Fernández, Christian Nodal, Paquita la del Barrio, Bronco and Christian Castro — is nominated for Best Mexican Music Album (Including Tejano) at the Grammys, competing at the ceremony on Sunday (Feb. 4) against Peso Pluma and three female artists: Lila Downs, Lupita Infante and Flor de Toloache.

In the group of nominees, Ana Bárbara is the pioneer, but she is still at the forefront. Bordado a mano is a work of art, but also of love and tenacity, recorded, produced and released by Ana Bárbara herself on her own label (Solos Music) with distribution by ONErpm. It took years to record, in part because it was logistically challenging to lock artists like Vicente Fernández (in his final collaboration before his death), and because Ana Bárbara paid for everything out of her own pocket.

The Mexican singer-songwriter — who this year celebrates the 30th anniversary of her first album, and who will be honored at Premio lo Nuestro on February 22 — spoke with Billboard about the meaning of the nomination at this stage of her life.

Your last Grammy nomination was 18 years ago. What are you most excited about this time?

Unlike the previous album, this one is completely independent. The last one included my songs but this one is also my production. And I am very proud of the work that was done, both with the songs and the teamwork, because it finally got to where it had to go, with a small, indie label. Solos Music is my label, and we are only five people. We’re small but we come through! [laughs]

ONErpm supports you with distribution and marketing, but this has been an independent job, and that’s difficult. Was it scary?

I can’t deny I was a little scared, because I didn’t know. I have to be honest. When Rose [manager Rosela Zavala] told me let’s go independent … she had a clear idea. But she was very honest and she told me, it’s a very difficult road, and it is. It is very expensive. I can tell you that it has cost me my life. If you ask me, was this a good deal, I’d say, “It’s a job that has given us something to eat.” We all have a family to support. But ultimately, as women, it was really about pride and strength and let’s go for it.

I’m not going to deny that it scared me at first, and it still scares me. Because although our goal was not to make the great business of our lives, we did say, “At what point are we going to start making money?” I tell you with great pride, I had to sell some of my assets at the beginning. I thought, if we’re going to do it, I’m putting everything into it.

It’s an album that took a long time…

Yes, and then came the pandemic. No no no. I was pulling my hair out. We were going crazy. But I believed. We already had the duet with Nodal, the duet with Paquita. It was already a reality. But all the promotion, the work, the album, the videos… doing all that as an independent [artist] is uphill, and for a woman, ten times more. Or twenty, to be honest.

Exactly how long ago was this album in the making?

I started working on it 11 years ago. The last album I released was Yo Soy La Mujer [in 2013]. The songs were written 11 years, 12 years ago. For example, the duet with Don Vicente, I dreamed it, I saw it, 11 years ago. He recorded it five years ago and the video was recorded before the pandemic. It’s been a long road.

Did you lose faith?

Actually, no. There were friends who told me, just record covers. But I wanted to leave my own legacy of my own songs. Yes, there were moments when I wanted to throw in the towel. For example, the duet with Christian Castro, he said yes, then six months went by. It was all very complex, because there is art in each of [the guest artists], but they also lead complicated lives.

All your guests have long careers and legacy, except Christian Nodal. Why him?

Nodal is a great artist. I call him an old soul. But all the others are classics: Bronco is classic. Christian Castro is the romantic balladeer, and he is one of my favorite balladeers. So I knew it was complex. When they’re established it takes a little more work to convince them.

You’re celebrating your anniversary this year, and you’re being honored at Premio Lo Nuestro. What else is coming?

I am celebrating 30 years of [my] recording career, which is easy to say, but the road has certainly been very difficult. We are preparing a symphonic album, basically the hits, with arrangements by maestro Eduardo Magallanes, who is one of my inspirations and did so much work for Juan Gabriel and Don Vicente. I also have duet and solo projects. It was hard enough to reach this milestone, so I’m going to celebrate with something special!