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Ye went on a hate-filled tweet spree on Friday morning (Feb. 7) in which he once again praised Nazis and Adolf Hitler, while insulting the LGBTQ community and people with disabilities with phrases such as “f–k ret-rds.”
West, whose once formidable music and fashion empire crumbled in 2022 after a string of hate-filled, antisemitic rants in which he stated “I like Hitler” and repeatedly embraced antisemitic stereotypes and hate speech, doubled-down on that rhetoric in the dozens of posts on Friday.
The all-cap tweets began early in the morning with a statement in which Ye claimed that he “turned down 3 photos this week with Make-A-Wish kids in wheelchairs,” followed by a further, full embrace of antisemitic language. “I love Hitler, how what b–ches,” Ye wrote, followed by “I’m a Nazi.”
Anti-Defamation League CEO Jonathan A. Greenblatt responded to the posts on X with a statement that read: “Here we go again. Another egregious display of antisemitism, racism and misogyny from Ye on his X account this morning. Just a few years ago, ADL found that 30 antisemitic indents nationwide were tied to Kanye’s 2022 antisemitic rants. We condemn this dangerous behavior and need to call it what it is: a flagrant and unequivocal display of hate.”
He added, “We know this game all too well. Let’s call Ye’s hate-filled public rant for what it really is: a sad attempt for attention that uses Jews as a scapegoat. But unfortunately, it does get attention because Kanye has a far-reaching platform on which to spread his antisemitism and hate. Words matter. And as we’ve seen too many times before, hateful rhetoric can prompt real-world consequences.”
Ye’s spree also included the use of homophobic slurs (“f—ot a– n–gas”), ableist insults (“dumb a– ret-rds”) and the statement “all white people are racist.” A number of the tweets were marked “visibility limited” as they ran afoul of X’s rules against hateful conduct.
Among them were comments such as, “Jewish people actually hate white people and use Black people,” “you can get money with Jewish people but they always gonna steal” and “this is how I really feel, how I really felt and how I will always feel… f–k all of your f–k a– unfair business deals any Jewish person that does business with me needs to know I don’t like or trust any Jewish person and this is completely sober with no Hennesy [sic].”
West also referenced Twitter/X owner and White House advisor Elon Musk’s repeated use of a Nazi-like salute at an inauguration event for Donald Trump last month that was widely criticized (Musk responded to critics by saying they “need better dirty tricks”). “Elon stole my Nazi swag at the inauguration… yooo my guy get your own third rale,” Ye wrote, adding, “I can say Jew as much as I want. I can say Hitler as much as I want.”
Claiming he has no interest in “adjusting nothing I do or say for anybody,” West promised to “normalize talking about Hitler they [sic] way talking about killing ni–as has been normalized,” followed by “Hitler was sooooo fresh” and “call me Yaydolf Yitler.”
The string of hate speech was seemingly embraced by white supremacist Nick Fuentes who wrote “and we’re back” in response to one of Ye’s tweets; Ye posted a series of crying laughing emoji on that Fuentes comment. Fuentes, known for his antisemitic, misogynistic and white supremacist views, also reposted a few of Ye’s most incendiary tweets, including one that read: “all you pleeeeease come at me… that’s who we spot the k–ns… let these white people and Jewish people tell you what to do and say.”
Amidst Ye’s earlier embrace of Hitler and Nazi propaganda, experts spoke to Billboard about the dangers of someone with such a wide social media reach promoting antisemitic tropes at a time when hate crimes against Jews and Jewish institutions were at the highest point in recent memory.
“At a time when the community is dealing with this level of hatred to have one of the most well-known entertainers in our culture making statements like ‘I like Hitler’ and showing up on [Jones’] InfoWars is not just vile and offensive, but it’s also endangering Jews by giving people permission to express that kind of prejudice,” Greenblatt said at the time. “People in the mainstream did not make such overtly awful, inflammatory comments before like this.”
Ye also tweeted support for Diddy, who is currently behind bars as he awaits trial for sex trafficking charges. “Puff we love you,” he posted. “I stood up for Puff and I’m still winning 20 Grammies [sic] next year and doing the Super Bowl.”
In a podcast interview earlier this week, Ye claimed that he’d recently been diagnosed with Autism Spectrum Disorder (ASD) after his wife said she thought his previous diagnosis of bipolar disorder was incorrect.
Over the past year, West had slowly begun to try and rebuild his music and fashion empire following its rapid meltdown after his 2022-2023 spree of antisemitic hate speech in interviews, which included a tweet announcing he was going “death con [sic] 3 on Jewish people,” repeated praise for Holocaust mastermind Adolf Hitler and the promotion of the white supremacist phrase “White Lives Matter” on shirts at Paris Fashion Week.
In the wake of those incidents, Ye was dropped by the Gap, Adidas, Balenciaga and his agents at CAA and his social media accounts were suspended or revoked in a fallout so wide-ranging that the former — and according to him, again — billionaire said in February of last year that he nearly went bankrupt.
At press time, the string of antisemitic statements continued unabated with Ye writing, “I don’t even know what the f–k anti semetic [sic] means… its just some bulls–t Jewish people made up to protect their bulls–t,” as well as a claim that he “channeled” misogynist influence Andrew Tate in his comments. Tate was released from five months of house arrest in Romania in January related to allegations of human trafficking and sex with a minor; Tate has denied the allegations.
Thanks in part to LL Cool J‘s “Mama Said Knock You Out,” Pfizer’s new Super Bowl commercial will leave viewers feeling hyped about the medical company’s ongoing cancer research — but because of the inspiring message at its center, it’ll also likely leave you in tears.
Posted to YouTube Friday (Feb. 7), the minute-long commercial opens with a young cancer patient lying in a hospital bed and watching a boxing match introduced by Michael Buffer’s iconic line, “Let’s get ready to rumble!”
The little boy then stands up, suddenly dressed in boxing shorts and gloves, and lands a knockout punch on a celebratory bell on the wall, signifying the end of treatment. After that, he struts through the hospital hallways to the triumphant beat of LL’s iconic 1991 hit as doctors and nurses applaud.
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The celebration continues on the streets, where crowds of people gather to cheer on the young champion on every step to his final destination: home, where his mom tearfully wraps him in a big hug.
“Hey cancer,” reads onscreen text at one point. “We’re gonna knock you out.”
After showing photos of the little boy’s difficult treatment journey, the ad then displays a call to action with more bits of text. “Pfizer is fighting for eight cancer breakthroughs by 2030,” it reads. “Join the fight at PfizerForAll.com.”
The spot is set to air during the Super Bowl broadcast during a commercial break as the Kansas City Chiefs face off against the Philadelphia Eagles Sunday (Feb. 9). Of having his song — which reached No. 17 on the Billboard Hot 100 in 1991 — featured in such an inspiring ad, the “Loungin” rapper told People, “It feels good to have my song used for such an important cause.”
“Strength and resilience are at the heart of hip-hop, and they’re just as crucial in the fight against cancer,” continued LL, whose wife, Simone Smith, has battled bone cancer. “My family knows firsthand — staying on top of your health and getting screened early can save lives.”
Watch Pfizer’s “Knock Out” Super Bowl ad above.
Leading up to his performance in front of tens of millions this weekend, Kendrick Lamar took a relaxing drive — in his GNX, of course — with Timothée Chalamet for an introspective one-on-one conversation about making art.
In a video posted by the NFL and Apple Music Friday (Feb. 7), the rapper — who makes sure everyone’s seatbelts are on — gives the actor a ride in his signature car as the two bond over the similarities in their respective crafts, with both sharing how they push through mental blocks in the creative process. For Lamar, he says it’s all about continuing to write no matter what to keep the muscle strong — not that he has much of a choice, as the Compton musician says penning lyrics is vital “for my own sanity.”
“That’s probably one of the biggest misconceptions about me as an artist,” he told the A Complete Unknown star. “I’m always locked in, and I’m always trying new things — whether or not I like them is a whole ‘nother conversation. But I have to keep the pen warm.”
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“It’s for my own sanity,” Dot continued. “[Writing] has also given me the opportunity to learn [about] myself, you know, find out who I am. When you’re writing, man, you’ve got to sit and go through the emotions and be vulnerable about it.”
Lamar’s pen has also gotten him to the mountaintop in 2025, with the hip-hop titan — who just days prior won both song and record of the year at the Grammys for Billboard Hot 100-topper “Not Like Us” — will take the stage Sunday (Feb. 9) in between halves at the ultimate Kansas City Chiefs vs. Philadelphia Eagles game in New Orleans. His conversation with Chalamet comes in celebration of the upcoming performance — not that he gave the Wonka actor any hints about song picks or special guests.
“I’ve been given no early access,” Chalamet said in a clip with Lamar when the interview was first announced Thursday (Feb. 6). “Top-shelf secrets.”
Toward the end of their drive, the Oscar nominee commended the musician on his success. “Just being a fan of your music forever and knowing like, look where you’re at now,” Chalamet gushed. “It’s just crazy, Super Bowl Halftime Show — you just keep climbing, bro. It’s amazing.”
“I appreciate it,” Lamar replied before revealing a fact about a song on his chart-topping November album GNX. “I mean that s–t, bro — ‘Man of the Garden,’ I mean every word on that motherf–ker, man. That’s probably the easiest record to write.”
Watch Lamar’s interview with Chalamet below.
After a former music executive criticized her speech calling for improved healthcare and pay for artists at the 2025 Grammys, Chappell Roan is clapping back and asking him to open his wallet for underpaid artists.
In a post to Instagram Stories early Friday morning (Feb. 7), Roan responded to Jeff Rabhan’s guest column published in The Hollywood Reporter, in which he called her speech “wildly misinformed.” Over a screenshot from the article, Roan directed her message straight to Rabhan, who is a former A&R executive who has worked at both Atlantic and Elektra Records.
“@jeffrabhan wanna match me $25K to donate to struggling dropped artists?” she wrote. “My publicist is @biz3publicity let’s talk.”
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In a second post, the “Pink Pony Club” singer told her fans that she would keep them “updated on the much awaited @jeffrabhan response,” including receipts of donations, before directing one more message to the former executive. “Mr. Rabhan, I love how in the article you said ‘put your money where your mouth is,’” she wrote. “Genius !!! Let’s link and build together and see if you can do the same.”
That quote in particular came from a section of Rabhan’s column in which he compared Roan to mega-stars such as Prince, Tom Petty and Taylor Swift, claiming that those artists didn’t simply call for change in the music industry (specifically when it came to negotiating better deals with their labels), but acted on it. “Skin in the game earns a seat at the table,” he wrote. “But that table requires a willingness to leave blood on the floor and to put your money where your mouth is.”
In the best new artist acceptance speech Rabhan was critiquing, Roan called out labels for failing to provide a livable wage or healthcare coverage to their artists, pointing to her own experience after being dropped by Atlantic Records in 2020. “If my label would have prioritized artists’ health, I could have been provided care by a company I was giving everything to,” she said.
Elsewhere in her Instagram Stories, Roan took a moment to highlight four artists who she said “deserve more love and a bigger platform” — she shared screenshots for the Spotify pages of Hemlocke Springs, Sarah Kinsley, Devon Again and Baby Storme.
Roan is not the only artist to call out Rabhan’s criticism. In a post on Thursday, Halsey lambasted the former executive’s criticism of Roan, calling his op-ed “boot licking behavior” and pointing out that what the singer was calling for wasn’t unwarranted. “[The music industry is] a game of investment but the investment is towards producing the materials,” they wrote. “the person *the ORGANIC MATERIAL* that is producing that product needs access to things like health care. Shocking, I know. If you want to profit off of someone else’s art; that artist should have the basic living means to feel safe enough to create that art.”
Other industry executives and advocates responded positively to Roan’s speech at the Grammys. In an interview with Billboard, the Music Healthcare Alliance’s founder and CEO Tatum Allsep said he was “jumping on my couch” when he heard her speech. “I was like, ‘Gosh, thank you for bringing this up.’ The conversation was started. What’s really important to know for all the young artists who are listening is you don’t have to go without if you are making a living within our industry.”
Billboard and The Hollywood Reporter are both owned by PMC.
Oasis are prepping a 25th anniversary reissue of their fourth studio album, Standing on the Shoulder of Giants, which will be released in a pair of limited-edition vinyl versions on Feb. 28.
The fourth album from the Britpop superstars was released in February 2000 and marked a left-turn into more electronic-based psychedelic sound featuring drum loops, electric sitar, Mellotron, synthesizers, backwards guitar and samples layered into their signature heady, Beatles-inspired rock sound on the bull rush opening track “F****n’ In the Bushes” and the swirling “Put Yer Money Where Yer Mouth Is.” The collection also featured one of their classic acoustic ballads, the single “Go Let It Out,” as well as singles “Where Did It All Go Wrong?,” “Who Feels Love?” and “Sunday Morning Call.”
Friday’s (Feb. 7) announcement came just 147 days (but who’s counting?) before formerly battling brothers singer Liam and guitarist/songwriter/occasional singer Noel Gallagher kick off their eagerly anticipated 2025 reunion tour.
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The anniversary edition of the album will be issued in silver vinyl and an official store-exclusive blue and purple marble edition on the anniversary of the LP’s original release on Feb. 28, 2000. They also teased a new lyric video for “Go Let It Out,” slated to premiere at 11 a.m. ET on Friday.
A press release announcing the reissue noted that the album marked a new era for the group, with “Go Let It Out” the first release on the Gallaghers’ Big Brother Recordings Ltd. label, established after the sudden shuddering of their former label, Creation Records.
Oasis are slated to kick off their 2025 stadium tour on July 4 with the first of two dates at Cardiff, UK’s Principality Stadium, after which they will criss-cross the UK and Ireland before hopping over to North America on August 24 for a show at Rogers Stadium in Toronto. They will hit Chicago, New Jersey and Los Angeles before moving on to Mexico City, South Korea, Japan, Australia and South America, winding down with a Nov. 23 show in Sao Paulo, Brazil.
See the reissue announcement below.
Eight months after going on hiatus, comedy rock duo Tenacious D are back. Sort of. The Jack Black-fronted two-man band appear on a new compilation album benefitting victims of last month’s deadly Los Angeles wildfires, Good Music to Lift Los Angeles. The contribution is a cover of REO Speedwagon’s 1980 power ballad “Keep on Loving You,” a song they’ve performed live in their patented urgent acoustic style before.
The 90-track compilation released today (Feb. 7) contains previously unreleased recordings, new songs, covers, remixes, live versions and demos from Animal Collective, Blondshell, Perfume Genius, R.E.M., Dawes, Death Cab For Cutie, TV on the Radio, Wilco’s Jeff Tweedy, MJ Lenderman, My Morning Jacket, Interpol, Mudhoney, Manchester Orchestra, The New Pornographers and many more.
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It was unclear at press time when the band — which also features guitarist/singer Kyle Gass — recorded the song; you can buy the album exclusively now on Bandcamp. The compilation will be available for one day only, with proceeds going to the L.A. Regional Food Bank and California Foundation’s Wildfire Fund.
At press time it did not appear that Black or Gass had commented on the song’s inclusion on the compilation, which comes after they announced a break and cancelled a planned Australian tour following Gass’ controversial on-stage joke about the assassination attempt against then-presidential candidate Donald Trump.
After the comment, Black apologized and announced that the group would take a break in light of criticism from Australia’s right-wing over the joke Gass made at a show in Sydney in July when Black rolled out a birthday cake for his longtime musical mate and asked him to make a wish. “Don’t miss Trump next time,” Gass quipped, just weeks after a 20-year-old gunman opened fire on a Trump rally in Butler, PA, grazing Trump’s ear and killing a rally attendee.
In a deleted post, Gass apologized, writing, “I don’t condone violence of any kind” and saying he was “incredibly sorry for my severe lack of judgement.” Shortly after, Gass was dropped by his agent and the remainder of the Australian tour, as well as a planned fall run of U.S. shows in swing states ahead of November’s presidential election, were cancelled.
Black also posted an apology on Instagram at the time, writing, “I was blindsided by what was said at the show on Sunday. I would never condone hate speech or encourage political violence in any form.” At the time of the tour cancellation, Black’s statement said that “all future creative plans are on hold.”
In August, Black told Variety that the duo needed “to take a break. Everybody needs a break sometime,” while also promising “and we’ll be back.”
In the meantime, earlier this week, Black posted a video from the set of his new movie Anaconda in which he sang the names of his co-stars while one of them, Paul Rudd, accompanied him on a hand drum.
Check it out below.
K-Pop girl group NewJeans announced that they’ve changed their name to NJZ in the midst of their long-running dispute with their label, ADOR. Singer Hanni spoke to CNN about the change, saying that the five-member group decided to rebrand as a means of “turning this rough period of time into something more exciting.”
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The first public outing under the new banner will come at the three-day ComplexCon Hong Kong in March, where Hanni, Haerin, Minji, Hyein and Danielle said they will debut a new song.
“We are working a lot to resolve everything so that we can go… back to normal,” Hanni, 20, added, saying that the band doesn’t want their legal spat with ADOR to “be the focus of our careers.”
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In a statement announcing the name change and upcoming gig, Minji said, “We are thrilled to be stepping onto the stage for the first time as NJZ and share something new with everyone. It’s a big moment for us and we can’t wait for fans to be a part of this journey with us and show the world our new music that we have been eagerly waiting to share.”
Back in November, NewJeans announced that they were parting ways with ADOR, a subsidiary of the K-pop management firm HYBE, over allegations that the label violated their contract. “Once we leave ADOR, we’ll aim to proceed freely with the activities that we really desire,” Danielle said at the time. “We really wish to be able to release new music for Bunnies, next year, as soon as possible, whenever,” she added, in reference to their fan group nickname. “We really hope that we have the opportunity to meet you guys from all around the world.”
They also noted in November that due to their contract termination, they might no longer be able to use the group name they’ve performed under since 2022. ADOR responded to the news, maintaining that its contract with NewJeans “remains in full effect,” urging the group to continue collaborating with them on upcoming projects. ADOR has disputed the allegations from the group, who’ve accused the label of “manipulation,” “deliberate miscommunications” and workplace harassment and have filed a lawsuit against NewJeans, and, according to CNN, filed for a court injunction that would prevent NJZ form signing advertising deals.
The band’s announcement of their split came after months of rancor in a management dispute between HYBE and ADOR’s former CEO, Min Hee-jin, who also serves as the group’s creative director. Last year, HYBE accused Hee-jin of attempting to take the company independent, a claim he denied; NewJeans said in November that they would like to continue working with Hee-jin.
In response to NewJeans’ announcement of their new name, ADOR told CNN, “we regret the escalation of this matter to court and believe that most claims advanced by NewJeans members thus far have arisen from misunderstandings… We worry that announcing an unauthorized new group name or engaging in entertainment activities before a legal judgement is reached… could constitute a material breach of the exclusive agency contract.”
CNN reported that the group began posting content under the new name on the jeanzforfree Instagram page, which at press time had a “sorry, this page isn’t available” note.
A preliminary court hearing for the injunction is scheduled for March, with the lawsuit set to be heard by a judge in April. While they wait, Haerin said the group are working on making and performing their new music, which she described as having a “very unique and different sound… there’s nothing holding us back anymore.”
Hanni added that they thought long and hard about the new name, considering fans’ suggestions and landing on a moniker that retained the “essence” of their original one. “Even though we have to leave our previous name behind us for a bit, we’re not fully moving on from it,” she said. “And we don’t want to either, because (being NewJeans) was still a very special period of time to us, and it’s something that our fans also probably hold really dear.”
She also said their new era will be “very different” from what fans have come to expect from the group whose 2023 Get Up EP hit No. 1 on the Billboard 200 album chart. Hanni promised that the new image will also come with “different types of performances,” explaining, “Beforehand, we were very focused on being the kind of ‘girl next door’… So, we’re going for a (look that’s) a lot more sharp, a lot more bold,” said the singer, who along with her bandmates serves as an ambassador for global luxury brands Chanel and Louis Vuitton.
“And fashion wise: We love wearing streetwear and non-gendered kind of clothing. I think that concept and aspect is going to play a really strong role in our (new) fashion as well.”
The Weeknd continues his streak of dominance on the ARIA Albums Chart, debuting at No. 1 with his sixth studio album, Hurry Up Tomorrow.
This marks his fifth consecutive studio album to top the chart, following Beauty Behind The Madness (2015), Starboy (2016), After Hours (2020), and Dawn FM (2022). His 2021 greatest hits collection, The Highlights, which peaked at No. 2 in 2021, also sees a boost this week, rising to No. 8. The album, which The Weeknd has described as the final installment in a trilogy, arrives amid speculation that he may retire his moniker and release future music under his real name, Abel Tesfaye.
Meanwhile, Luke Combs’ ongoing Australian tour has reignited interest in his catalog. His 2017 album This One’s For You reaches a new peak at No. 5, surpassing its previous best of No. 7, while his latest album, Fathers & Sons, re-enters the top 10.
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Luke Combs continues to see a major surge on the ARIA Albums Chart thanks to his ongoing Australian tour. His 2017 album This One’s For You climbs to No. 5, hitting a new peak after previously reaching No. 7 in both 2019 and 2022. His latest album, Fathers & Sons, also returns to the top 10, moving up from No. 13 to No. 11.
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Over on the ARIA Singles Chart, British singer-songwriter Lola Young holds onto the No. 1 spot for a second consecutive week with “Messy,” continuing an unprecedented run of female artists dominating the top position since mid-August 2024. This streak has included No. 1 hits from Charli XCX, Billie Eilish, Sabrina Carpenter, Rosé (with Bruno Mars), Gracie Abrams, and Mariah Carey.
Rosé and Bruno Mars’ “APT.” remains strong in the runner-up position at No. 2, while Gracie Abrams’ “That’s So True” holds at No. 3. Lady Gaga and Bruno Mars’ collaboration “Die With a Smile” sits at No. 4, with Chrystal’s “The Days – Notion Remix” rounding out the top five.
On the ARIA Vinyl Albums Chart, Hurry Up Tomorrow lands at No. 1, proving its demand across all formats. Luke Combs’ Fathers & Sons follows at No. 2, with Birds of Tokyo’s Universes at No. 3, Gracie Abrams’ The Secret of Us at No. 4, and Billie Eilish’s Hit Me Hard and Soft at No. 5.
Poppy has put her own spin on “Taste,” Sabrina Carpenter’s sultry viral hit, delivering a stripped-down yet edgy reinterpretation for Like A Version, the long-running cover series from Australian radio station triple j.
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The performance, which was recorded during her recent Australian tour with Bad Omens, also featured an unexpected nod to The Divinyls’ “I Touch Myself,” seamlessly woven into the chorus. “I love her voice, and I think she’s very pretty,” Poppy said of Carpenter, explaining her song choice. “And the song is really fun to sing, so here we are.”
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Dressed in a sleek all-black outfit, Poppy’s performance brought a darker, moodier edge to “Taste,” stripping back its glossy pop production in favor of a more industrial-tinged arrangement.
Adding to the intrigue was the masked presence of Jordan Fish, formerly of Bring Me The Horizon, handling production duties. The unexpected interpolation of “I Touch Myself”—an Australian classic originally released in 1990.
“The first time I heard [‘Taste’], I thought it sounded like ‘I Touch Myself’, which is also my favourite karaoke song, so combining it made sense,” Poppy said of her choice to add the twist to Carpenter’s track.
The cover arrives as both Poppy and Carpenter celebrate major career milestones. Poppy was nominated for Best Metal Performance at the 2025 Grammys for “Suffocate,” her collaboration with Knocked Loose that reached number 50 on Billboard’s Hot Rock & Alternative Songs. Meanwhile, Carpenter took home her first two Grammy Awards for Best Pop Solo Performance and Best Pop Vocal Album.
“Taste” has been a breakout moment for Carpenter, peaking at No. 2 on the Billboard Hot 100. The song, featured on her album Short n’ Sweet, which held No. 1 for four weeks on the Billboard 200.
Poppy, meanwhile, continues to push genre boundaries, evolving from her early YouTube days into an avant-garde force within the metal and alternative scenes.
Poppy’s Like A Version session adds to a long history of memorable covers on the program, which has hosted artists like Billie Eilish, Arctic Monkeys, and Childish Gambino reworking unexpected tracks. Whether this signals a future collaboration between Poppy and Carpenter remains to be seen, but for now, the metal provocateur has put her own mark on one of the year’s biggest pop hits.
Watch Poppy’s Like A Version cover of “Taste” below.
Nick Cave and the Bad Seeds, PJ Harvey, Yeah Yeah Yeahs, DEVO, Primal Scream, and more have joined forces for Los Angeles Rising, a new benefit album raising funds for musicians affected by the recent LA wildfires.
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Spearheaded by Kevin Haskins of Bauhaus and Love and Rockets, along with producer Nick Launay, the compilation features previously unreleased tracks from some of alternative music’s most influential artists. All proceeds from the album will go directly to Sweet Relief, a non-profit organization that provides financial assistance to career musicians in need.
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The album, which is available exclusively on Bandcamp, includes a reimagined version of “California Dreamin’” by Jarvis Cocker, an alternate take on Yeah Yeah Yeahs’ “Turn Into” from Show Your Bones, and a new track from Nick Cave and the Bad Seeds titled “Michelangelo.” Primal Scream contributed an orchestral version of their song “False Flags,” while Danny Elfman added his own surreal spin with “Monkeys on the Loose.” DEVO, Gary Numan, and Flea also feature on the 16-track compilation.
Haskins and Launay, both longtime LA residents, were personally affected by the fires and said the project came together quickly as they watched the devastation unfold.
“As the wildfires were raging and destroying thousands of homes around Los Angeles, both my neighborhood and Nick’s were instructed to evacuate. But we were the lucky ones,” Haskins said in a press statement. “The fire threatening our homes and recording studios was thankfully extinguished by firefighters just minutes away, but countless musicians and friends lost everything.”
Launay added, “This harrowing experience and witnessing the monumental destruction of entire communities inspired Nick and I to team up to create a compilation album to raise money for the less fortunate. We reached out to our musician friends for unreleased recorded gems and the response was incredible! PJ Harvey, Nick Cave, Jarvis Cocker, Primal Scream, Gary Numan, and Devo are just some of the artists that rushed in to help.”
“Nick and I were lucky. We had to evacuate, but our homes and studios survived,” Haskins said in a statement. “So many musicians we know lost everything.” The two reached out to artists who had worked with them over the years, asking if they had unreleased tracks that could help raise money. “The response was incredible,” Launay added. “These musicians didn’t hesitate to contribute to something that could directly help their peers.”
The album arrives amid a broader industry-wide effort to support wildfire relief. Bandcamp recently announced that all proceeds from purchases made on Feb. 7 would be donated to MusiCares, while a separate benefit album—featuring contributions from R.E.M., Death Cab for Cutie, The Postal Service, and more—is also in the works.
Los Angeles Rising is available now on Bandcamp, with vinyl pressings and limited-edition merchandise set to be released later this month. As wildfires continue to impact communities across California, the music industry is once again proving its ability to rally support when it’s needed most.