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Despite being released with just six hours left in the Sept. 14-dated Billboard charts’ tracking week, Linkin Park’s comeback single “The Emptiness Machine” debuts at No. 24 on the Rock & Alternative Airplay list. The song – the six-piece’s first with new vocalist Emily Armstrong, who sings with Mike Shinoda on it, and new drummer […]
This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music from artists including new studio albums by Nicky Jam and Jhay Cortez.
This week, Nicky Jam dropped his sixth studio album Insomnio, three years after his set Infinity. In a 14-track set that includes fiery collaborations with Feid, Eladio Carrión, Sean Paul, and Luar La L on the focus track “La Cyber,” Nicky takes fans on an ultra-personal journey that was inspired by his late-night creativity.
“The name ‘Insomnio’ came about because many of the album’s songs were born in the tranquility of the night, a moment without distractions where my deepest thoughts found their voice,” the Puerto Rican artist expressed in a press statement. “But within that same calm lies the whirlwind of partying until dawn.”
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Jhayco also released his first album in three years, a three-part set with 29 songs called Le Clique: Vida Rockstar (X): “Le Clique,” represents the family, “Vida Rockstar,” the movement, and “X,” the hits. For his new project, Jhayco reeled in collaborators such as Peso Pluma, Yandel, and DJ Khaled, to name a few, and as Billboard Español’s Isabela Raygoza describes, it “weaves together the threads of rock, reggaetón, and everything in between […] transforming the artist into a genre alchemist.”
Other new releases this week include Grupo Frontera & Gabito Ballestero’s “Pienso En Ella”; Natti Natasha’s bachata “Tu Loca,” produced by Romeo Santos; and a dreamy new version of Elena Rose’s “Me Lo Merezco.”
Last week, Sebastian Yatra’s “Los Domingos” won the poll, bringing in more than 70% of the votes. Who should win this week? Give these new releases a spin and vote on them below.
What’s your new favorite Latin music release?/¿Cuál es tu nuevo lanzamiento favorito de música latina?
The Offspring’s “Make It All Right” ascends two spots to No. 1 on Billboard’s all-rock-format, audience-based Rock & Alternative Airplay chart dated Sept. 14. The track reigns with 3.9 million audience impressions in the week ending Sept. 5, according to Luminate. The Dexter Holland-fronted act snags its first ruler on Rock & Alternative Airplay, which […]
Kim Petras and The Chainsmokers are sneaking in one last song of the summer contender, with the pop star and EDM duo releasing a new collaboration titled “Don’t Lie” and music video Friday (Sept. 6). Explore See latest videos, charts and news See latest videos, charts and news In the video, bandmates Alex Pall and […]
On Sept. 4, VK Blanka released his new album, Knightclub. In early 2024, he launched his first North American tour in nine cities throughout the United States and Canada. In July, he performed at the largest anime convention in South America, Anime Friends 2024, in São Paulo, Brazil, followed by his first Latin American tour, VK Blanka Latin America Tour 2024, in Santiago and Mexico City. This new album is his first in three years, released in the middle of this heavy overseas touring schedule. These overseas performances have had a tremendous impact on him, which comes through in his music.
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How was your first Latin American solo tour?
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It was so fun. It’s the other side of the world, so there was a whole different type of excitement. What really stuck out was everyone shouting out their love for my music. In Japan, for our shows, we try to create something of a journey, but the audiences in Latin America were amped up the whole way through, regardless of the show’s flow. That made me feel great.
So you can feel differences in countries’ national characters through the audience reactions?
Right. In Japan, there’s this feeling of humanity and spirituality. In Latin America, whether it’s Brazil or Mexico, everyone’s always so cheery. With North American audiences, sometimes they’re going crazy but sometimes they’re cool and collected. All that comes through in the shows. For the Middle East, in Saudi Arabia everyone’s shouting “Yeah!” So, in that way, it feels the same as North America, Latin America, and Europe…except that no matter how energetic the show is, the audience is all sitting back watching it from these cushy seats. Then, when the show ends and you say “Thank you so much, Saudi Arabia!” they give you a standing ovation. In their culture, the way you watch a music show is the same as the way you’d watch a play. I think those differences are really interesting. In that sense, playing in places other than Japan is very stimulating.
In countries like Saudi Arabia, clothing can’t be very revealing, so I’m guessing these cultural changes could also affect wardrobes.
Yeah, they did advise me about that. You can’t wear shorts, so I wore full-length pants, despite the heat. But in town, you’d see Europeans wearing shorts and jogging like it was no big deal (laughs). So there were people from countries who didn’t care about things like that, but since we’re Japanese, we took care to dress the “proper” way. You’d see that gap, as well, in lots of places, which was interesting.
Have these experiences overseas brought about any changes in your own lifestyle?
Yeah, they’ve changed the way I think. Of course, I’ve become more interested in different countries, and my experience has brought things like social situations, politics, economics, and culture closer to home. For example, now if I see that there’s a demonstration happening in France, I know where it’s happening, and I think about the friends I have there, that are my own age. I wonder what they think about the situation. Performing overseas, you establish a lot more connections like that. I feel like, without even being conscious of it, I’ve become more “borderless.”
What’s the meaning behind the title of your new album, Knightclub?
I like giving my albums cool names, like “wizard” or “Devil” (laughs). So, in line with that, I was originally thinking of naming it “Knight.” But then I decided to give it a more musical title, so I took “night club,” which has a cool feel, and then I put a “k” in front to make “Knightclub,” which would also have the double meaning of a legion of knights.
The first song, “Yomigaeri (with Noriyuki Makihara & ayaka),” has a spiritual feel to it. What’s it about?
That wasn’t the kind of song I set out to write from the start, but it ultimately ended out with this theme of life and death. Ever since I was an elementary school kid, I’ve thought about what it means to live, and what it means to die. I feel like my outlook on life and death has come through with the different experiences I’ve had.
“Daddy (Dying in NY)” is an English language song on the album that starts out with a chaotic soundscape. What’s the story behind it?
When I was doing a show in Europe, one of the fans shouted out “Daddy!” I didn’t know what it meant at the time, but when I looked it up later, I found out it was a sexual come-on for a hot guy. I talked about that on the North American tour, too, and then one day I played this show in New York. The show was incredible, and it was the last of the tour, so at the end I felt totally spent. That’s why I gave the song that name, like “a hottie dies in New York.”
“High Love” is a standout song, sung entirely in falsetto. You did the whole thing, including the chorus, yourself, right?
Right. I recorded the whole thing in my home studio. When I debuted, what set me apart was how much falsetto I used and how high I sang. The music I wrote after my debut was more flexible, but one day I realized that I’d never really gone full-steam since my debut song, “Slave of Love.” I wanted to use that same approach again, so I wrote “High Love.”
“Never Run” has an 80’s feel to it. What can you tell us about this song?
Los Angeles musician Josh Cumbee, who mixed the song with me, said “There used to be groups whose music all used this beat, so if we use it, it’s going to sound retro.” I found that pretty surprising. It wasn’t my intent to revive an old sound, I simply thought that it was a great rhythm, the kind of rhythm that could always get people moving. The lyrics to this song are also all in English, and the audience really got into it during our Latin America tour. It’s hard for foreign audiences to sing along to Japanese songs, but this song was surprisingly easy even for audiences in Chile and Mexico. The song showed a lot more global potential than even I’d expected, which I think is fascinating.
“Fortress” is a beautiful, soaring ballad. What were you trying to express through it?
The theme is “defense,” which, in a way, is a passive act or mentality. In the song, I tried to embody this concept not of defending or bearing something out of weakness, but instead because if you go all the way in your defense, then you’ll be unrivalled.
So playing piano and singing are where your true musical roots lie?
Even now, the piano is always my main instrument. That will probably never change. But the direction I use when I perform is changing. Actually playing live shows, it’s really constricting being trapped behind the piano the whole time. I want to move around more and be more active, so there are parts of my approach that are changing little by little. One thing that is true for both my first album and this album is that I handled all the arrangements myself. Recently, I’d been asking lots of different people to work on arranging the songs, but with this album, I’ve come full circle and did all the arrangements myself again. That’s one connection between the new album and my first album.
“Matane” is a simple song with very intimate vocals. I feel like it gives a glimpse of the true you.
I took a straightforward, genuine approach with “Matane.” When I wrote it, I thought it would be a good song to end the album with, and I hoped that it would linger with the listener, even after it ended. My concept for it was to create the same feelings that I hoped the audience at one of my shows would have as they headed back home.
What do you see in your future?
I want to create great music, for everyone to listen to that music, and to put on shows in every city. Other countries are no longer a mystery to me. The world is now my home, so I think it would feel wonderful to put on a complete world tour, playing in cities in Japan, Latin America, North America, the Middle East, Europe, and Australia.
—This interview by Takayuki Okamoto first appeared on Billboard Japan
Laila! — the singer, songwriter, producer, rapper, and viral sensation — has dropped her debut album Gap Year! Her songs “Like That!” and “Not My Problem” were already viral by the time the world knew what she looked like; a testament to this era of streaming and social media, and she’s taken full advantage of […]
Halsey is officially killing their ego.
The singer dropped a music video for her latest single, “Ego,” on Friday (Sept. 6). In the clip, Halsey plays two characters representing two versions of themselves. On one end of the dinner table, the star is seen with long, red hair with full glam makeup and a black mini dress. On the opposite end, Halsey rocks short hair of the same color, wearing no makeup and a tuxedo.
“I think that I should try to kill my ego/ ‘Cause if I don’t, my ego might kill me/ I’m all grown up but somehow lately/ I’m acting like a f—ing baby/ I’m really not as happy as I seem,” Halsey sings in the rock-tinged chorus, as her two egos fight each other around a dimly lit home, using any weapons necessary to get the job done.
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“Ego” is the fourth single from Halsey’s upcoming album, The Great Impersonator, set to drop on Oct. 25. The star has described the project as deeply personal, saying, “I made this record in the space between life and death, and it feels like I’ve waited an eternity for you to have it.”
This week, the three-time Grammy nominee also shared the album’s main cover art, which features a black-and-white close-up of them with rosy cheeks and a star-shaped sticker with the title on her forehead. “Step right up, ladies and gentlemen,” the sticker’s fine print reads. “Behold the marvel of a century. Witness the uncanny ability of a woman who can become anyone, anything your heart desires.”
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The Great Impersonator will mark Halsey’s first album since 2021’s If I Can’t Have Love, I Want Power, which reached No. 2 on the Billboard 200. The project also features previously released singles “The End,” “Lucky” and “Lonely Is the Muse.”
Watch the “Ego” music video below.
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With carnival season coming to a close, it’s time to let go of the summer and ease into the cooler half of the year. Lucky for us, the world of Caribbean music closed out summer with a bang. During the annual West Indian Day Parade in Brooklyn, NY, on Labor Day (Sept. 2), the Queen of Dancehall, Spice, joined forces with BK rap star Lola Brooke for a special parkway performance of “Cry,” from the Jamaican superstar’s new Mirror 25 album.
The week prior, Brooklyn once again played host to the Caribbean Music Awards, which featured hours of celebrations of the past year in Caribbean music and culture. Fresh off his stellar Stateside comeback performances earlier this year, Buju Banton took home album of the year (reggae) for Born for Greatness, which featured collaborations with Victoria Monét, Stephen Marley and Snoop Dogg. Masicka’s Generation of Kings — which reached No. 2 on Reggae Albums last December — was crowned album of the year (dancehall), while fellow Jamaicans Shenseea (artist of the year female – dancehall), Lila Iké (artist of the year female – reggae), Valiant (artist of the year male – dancehall) and Dexta Daps (performer of the year – dancehall).
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Two 2023 Billboard-charting hits — Teejay‘s “Drift” and Byron Messia & Burna Boy‘s “Talibans” — earned trophies as well. Teejay’s joint took home video of the year (dancehall) while Byron took home a pair of honors: collaboration of the year (dancehall) and song of the year (dancehall). Other notable victors included Shaggy & Kes (collaboration of the year – reggae) and Romeo Santos (artist of the year – Latin Caribbean). On the honorary side, Marcia Griffiths received a Lifetime Achievement Award, Cedella Marley received a Legacy Award and Spice was honored as Artist of the Decade.
Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
Freshest Find: Mortimer feat. Kabaka Pyramid & Lila Iké, “Bruises”
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For the latest single from his forthcoming From Within LP (due Sept. 20), Mortimer, one of contemporary reggae’s guiding lights, recruits Kabaka Pyramid and Lila Iké for a solemn, reflective track that deals with the bleak state of the human condition and the global Black struggle. Keeping the tradition of speaking truth to power while injecting a distinctly modern, almost hip-hop-inflected groove to its reggae foundation, “Bruises” is a winning collaboration. Between Kabaka’s sizzling verse and Lila’s tender timbre, “Bruises” is a wholly dynamic listen that balances the hurt and hope that ground the trio’s powerful lyrics.
Chronic Law, “Dark Up Di Place”
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Chronic Law is on a seemingly endless hot streak, and his run continues with “Dark Up Di Place.” Operating in the trap dancehall lane, the St. Thomas star adds another solid gun chune to his arsenal with this ominous banger. “How you fi shoot up a yard weh nobody nuh live, come on” he taunts in a tone that’s equal parts apathetic and snarky, underscoring how comfortably he rests in his own proclamations of dominance and power. The chugging riddim feels as dark as the song’s title suggests, but it’s Chronic’s menacing delivery that really brings the whole song together.
Capleton, “Jah Guide My Step”
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For the deluxe version of the Brimstone Riddim album, reggae legend Capleton made a characteristically moving appearance with “Jah Guide My Step.” “Jah, guide my step/ Jah, guide and protect” he opens the song, immediately matching the triumphant energy of those opening horns by grounding his vision for his future in the hands of the Almighty. Some of the best reggae songs blend their blistering political commentary with reverence for the endless possibilities of a future buoyed by steadfast faith and holy guidance, and that’s exactly what Capleton achieves on this poignant new track.
Skillibeng feat. Tokischa, “Boom”
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Ahead of his stint as a support act on Nicki Minaj‘s historic Pink Friday 2 World Tour, Skillibeng angled himself towards a reggaeton crossover moment with his new Tokischa-assisted track, “Boom.” Built around a sample of the iconic “Bam Bam” riddim, the Yeti-produced track finds Skillibeng doubling down on his trademark X-rated lyrics. “It nuh matter, baby gyal, yuh hot, look how yuh proper/ Waan fi plow yuh like a farmer, wi fi f–k inna da car yah,” he spits to close out his verse, with Dominican rapper and singer Tokischa effortlessly matching his energy with the lines, “He call my p—y, say, ‘Miss fatty-fatty’/ P—y so tight, gon’ make him a murder.” From bilingual verses to an iconic sample, “Boom” is tailor-made for some kind of crossover success — even if this is the second time Skillibeng has put out a song with that name!
Spice, “You Are Worthy”
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To kick off her career-commemorating Mirror 25 album, Spice brought herself to the church doors with this gospel-steeped opener. “When I look at what You carry me through/ Who could it be? No other one but You/ I stand on your word in Psalms 92/ And Psalms 35, the words in Mark 2,” she sings in the song’s emotional second verse. In a conversation with Billboard, Spice explained that she opened her album with a gospel song to give God praise for helping her through a near-fatal health scare. “I’m supposed to be here because God saved my life for a reason,” she said. “I escaped death. I don’t take that lightly.” With the way her voice soars with gratitude over the evocative amalgam of organs, piano, drums, and guitar, it’s clear that Spice meant every word of that explanation.
The Wailers, “Sins”
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It’s been a major year for the Marleys, but The Wailers have something to say too. On Aug. 30, the Grammy-nominated band launched their Evolution album featuring the excellent closer, “Sins.” Across an earthy mixture of guitars, bass, and horns, the Aston Barrett Jr. warns people to not use the Bible to justify themselves and to not “be a hypocrite,” two proclamations that inadvertently (maybe intentionally!) set them in opposition to the way quite a few artists across genres, including reggae and dancehall, use the Bible to justify positions that can be extremely harmful and downright heinous. It’s a ballsy closer, one that pushes the album further into conversations at the intersection of religion, music, and politics — a true testament to the enduring legacy of both Bob Marley and reggae music at large.
Peetah Morgan & Zion I Kings, “Who Run the World”
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Earlier this year (Feb. 25), Peter “Peetah” Morgan — the lead singer of Morgan Heritage — passed away, but his moving voice is still as powerful as ever on “Who Run the World,” his take on Zion I Kings’ “Full Bloom” riddim. “Who run di world and who call di shots/ Yuh think a you just because you hold a glock,” he sings before shouting out Kwame Nkrumah, Patrice Lumumba, and Thomas Sankara among other “African fathers who fight for our liberation.” In a way, the song is a smart answer to those who think being armed automatically equates to having and securing power. It’s also a timely reminder of the interconnected struggles of the global Black diaspora — especially in light of the frenzy Buju Banton’s take on Afrobeats caused a few weeks ago.
DJ Cheem, “She Getting On (Never)”
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Bajan-American soca artist DJ Cheem delivers a sunny end-of-summer jam with “She Getting On.” By all accounts, it’s a standard soca track that praises a lady’s posterior and recounts wicked wins over a jaunty combination of groovy drum patterns. What takes “She Getting On” to another level is the chorus melody. It’s relatively straightforward, but when Cheem’s voice soars on “know” just as the whistles and horns come in, your waist will probably start moving on its own accord — and that’s exactly how you know that you have a real soca hit on your hands.
Tina (Hoodcelebrityy), “Lover Man”
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Fresh off her Tina vs. Hoodcelebrityy project from earlier this year, Tina is back with a new single that pulls from two dancehall classes. “Lover Man,” a song that flips the script on dancehall’s male-dominant explorations of romance, takes notes from Dave Kelly’s 1994 “Pepperseed” riddim, as well as the hook from Nadine Sutherland & Terror Fabulous’ classic, “Action.” With her voice floating between different registers and lyrics that champion a woman’s right to be selective with who she crowns her “lover man,” Tina’s new single is a sweet synthesis of all of her sonic influences and both of her personas.
Chip & DJ Frass, “Gyalis Pree”
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For his take on DJ Frass’ “Party Bus” riddim, Tottenham emcee Chip steps into his dancehall bag with a sexy combination of his British rap foundation and his Caribbean roots. He effortlessly switches between spitting debaucherous bars (“Weed and tequila/ Standard procedure”) and employing a melodic, AutoTune-assisted cadence that allows his voice to try on different textures to play up the subtle percussiveness and vibrant synths of Frass’ riddim. Of course, that callback to 50 Cent’s “In da Club” (“Find me in the club…”) is the icing on top.
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Grupo Frontera & Gabito Ballesteros, “Pienso En Ella” (Grupo Frontera)
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After dabbling in bachata on “Ángel” with Romeo Santos, Grupo Frontera returns to their roots to deliver a hip-swiveling cumbia titled “Pienso En Ella,” or “I think of her.” This time, the Texas group reels in Mexican singer-songwriter Gabito Ballesteros who adds his velvety vocals alongside Payo (Frontera’s frontman) to the accordion-powered heartbreak song. Produced by Edgar Barrera, who also co-wrote the song, it’s a testament to the hitmakers’ knack to produce songs that are both sonically and lyrically nuanced. — GRISELDA FLORES
PJ Sin Suela, Toda Época Tiene Su Encanto (El Efecto Secundario)
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PJ Sin Suela has unleashed his fourth studio album, dubbed Toda Época Tiene Su Encanto, which loosely translates to “every era has its beauty.” In the 12-track LP, the Puerto Rican indie artist — who’s also a med school graduate and a published author — delivers a conceptual set about love that navigates from the early puppy love stage to overcoming a breakup, and beyond. A musical masterpiece, the artist born Pedro Juan Vazquez Bragan fuses funk, jazz, lo-fi beats, electronic, bolero and tropical music with reggaetón and hip-hop elements. Lyrically, PJ’s wisdom and maturity ooze through lyrics that, for the most part, are about discovering oneself and the importance of self-love, as notably heard in the closing track “Nunca Es Suficiente.”
“The album chronologically explores different stages of love, beginning with the initial innocence-exquisite yet fleeting-then moving through disappointments, experiments, and lessons,” the artist expresses in a press statement. “Ultimately, I learned that each stage has its own charm, with its highs and lows, but true love requires first loving what is uniquely ours.” Toda Época Tiene Su Encanto also includes collaborations with Jorge Drexler (“Todo Se Complica”), Ana Tijoux (“Polos Opuestos”), Elena Rose (“Maldades”), Ñejo (“En Las Guerras Nadie Gana”) and emerging Puerto Rican band Chuwi (“Escúchame”). — JESSICA ROIZ
TIMØ, “El Canto del Olvido” (UMG Recordings, Inc.)
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Colombian boy band TIMØ presents their new single titled “El Canto del Olvido.” With analog instruments, with percussions as protagonists, the band sings about the heartbreak of a love that has left over a Latin pop track that fuses traditional and contemporary elements. “This is the song/ The song of oblivion/ Because when I sing it/ My crying ends/ And I forget that you’ve gone,” they sing in unison in the chorus. The band is preparing to hit the road with their Conquistar el Planeta Tour 2024, which begins on Sept. 26 and will take them through 14 cities in Latin America and Europe. — LUISA CALLE
Salomón Beda & Pedro Capó, “Cada Loco Con Su Tema” (Pa’lante Records LLC)
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Colombian singer-songwriter Salomón Beda and Puerto Rican star Pedro Capó unite their good vibes in “Cada Loco Con Su Tema” (slang for “To Each His Own”), a chill pop single about accepting others by embracing their differences. “How boring the world would be if everything were the same,” goes part of the bridge before the chorus: “To each his own/ There’s no accounting for taste/ We give each other good vibes/ We are clear, there is no problem/ I don’t bother you, you don’t bother me.” The song, co-written by both artists along with Diego Contento, is refreshing and perfect to help you relax. — SIGAL RATNER-ARIAS
Jhayco, Le Clique: Vida Rockstar (X) (Universal Music Latino)
With a rebellious sneer, Le Clique: Vida Rockstar (X) is a brash declaration of artistic evolution, with Jhayco enhancing his reggaetón beats for a raw revelry that electrifies and disrupts. Split into a thematic triptych — “Le Clique,” the family, “Vida Rockstar,” the movement, and “X,” the hits — the Puerto Rican star sails across genres with ease.
Opening with the title track, “Vida Rockstar,” the Jhayco salutes ’90s-era skater pop-punk, channeling the high-energy of bands like Blink-182. Disc two kicks off with “Le Clique” featuring DJ Khaled and Yovngchimi, who delivers a punchy, trap-inflected flow complete with playful lyrics that invite Prince Royce to swing into a bachata. It’s fresh, vibrant and indicative of the album’s overarching aim: to shake listeners and pull them onto the dance floor. On “58,” Jhayco ventures into Jersey club territory with the aid of Dei V, and on “0 Milla,” produced by MAG, Jhayco dives into hard-hitting reggaetón, complete with trap interludes and a screeching guitar that opens the song. Meanwhile, the third disc starts with “3D,” a Dominican dembow track that energizes the lineup alongside Tivi Gunz and De La Rose.
With the help of producers like Albert Hype, Tainy, and Haze, the album’s 29 tracks were recorded across global music hubs including Paris, Madrid, and Los Angeles, enveloping the in a worldly aura that complements its intrepid spirit. Collaborating with Peso Pluma, Quevedo, Eladio Carrion, and Bryant Myers, Jhayco unites a varied musical community. By weaving together the threads of rock, reggaetón, and everything in between, the singer, songwriter and producer transforms into a genre alchemist, reaffirming that genre lines no longer exist and the music speaks — and rocks (!) — for itself. — ISABELA RAYGOZA
Listen to more editors’ Latin recommendations in the playlist below:
This week in dance music: A new compilation of music of rare disco and funk from the former USSR was released via Ostinato Records, Charli XCX teased a new project, the DJ Awards announced that they’re coming back after a four year hiatus with an October ceremony in Ibiza and a sprawling pool of nominees, Kaytranada, Ravyn Lenae and Channel Tres performed on The Late Show With Stephen Colbert and Clean Bandit and Zara Larsson’s “Symphony” spent a second week at No. 1 on the TikTok Billboard Top 50.
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And, on a singularly busy release day, here are the best new dance projects of the week.
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Fred again.., Ten Days
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Before Fred again.. embarks on his North American tour, he’s shared his fourth studio album, ten days. A follow-up to his Grammy award-winning Actual Life 3 (January 1 – September 23, 2022), the new LP is similarly diaristic, comprising “ten songs about ten days,” as he writes on Instagram. Fred shines in his ability to make his music feel infinitely emotional, simultaneously larger-than-life and intimate – where a song played to a stadium-sized crowd touches everyone on a personal level, as if it were made specifically for them. Where songs like “Fear Less” and “Just Saw You” offer a soft but powerful slow burn, others like “Places to Be” and “Glow” — a seven-and-a-half-minute joyride made with with old pals Skrillex and Four Tet, along British producer Duskus — are more outwardly energetic, a fast-pass to euphoria.
“There’s been a lot of biggg mad crazy moments in the last year but basically all of these are about really very small quiet intimate moments,” Fred writes. “Some of them are like the most intensely joyful things I have felt, and some of them are the other side of things. And some days i don’t want to speak about loads cos I’m not the only person it was an important day for it that makes sense.” — KRYSTAL RODRIGUEZ
Nero, The Unknown
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EDM era titans Nero return with their first album in nine years, Into the Unknown, a 13-track demonstration that the trio’s still got it. Via a coalescence of jungle, drum ‘n’ bass, UKG, bass and genres beyond, the sleek, pristinely produced album explores themes of apocalypse, global disconnection, the growing influence of technology and nothing less than the progression of humanity itself, a sizeable message for a sizable, powerful project. Coming nine years after their last album Between II Words, Into The Unknown completes a trilogy started with the group’s 2011 debut Welcome Reality, and longtime fans will certainly recognize the epic sound and style (and Alana Watson’s umistakable voice) that first brought Nero to the fore. — KATIE BAIN
The Chainsmokers with Kim Petras, “Don’t Lie”
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There’s something absolutely breezy about The Chainsmokers new Kim Petras collab, “Don’t Like,” with the duo shooting off a slinky, infectious production that trades big drops for a more tempered but very effective garage-y IDM vibe. Petras pulls her weight here as well, with her breathy vocals giving a classic Kylie vibe with the song’s earworm melody. And the video, about a deliciously messy renegade desert party (starring The Chains behind the deck and Petras as the mini-skirted star of the dancefloor), is just eye-candy fun. — K.B.
Aluna & Aqutie, “Ghostin“
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Hailing from the deluxe edition of Aqutie’s Coolest in the City EP, “Ghostin” has the feel of the city itself, with a siren going off over a scintillating beat that conjures a vibe of subway tunnels and dark alleyways. Vocals here are from Aluna, who’s also releasing the project on her Noir Fever label, with the the two artists recently taking part in the label’s first writing camp at Empire’s San Francisco headquarters. Of pairing up with Aluna, New York City based Aqutie advised that “when two queens link up honey, and the combos communicate, unstoppable.” Meanwhile, the next Noir Fever showcase will feature artists including Aluna and Coco & Breezy next month in Brooklyn.
Ninajirachi & MGNA Crrrta, girl EDM
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Australian producer Ninajirachi releases her full length project girl EDM (disc 1), a 10-track package on which she synthesizes the 2000s and 2010s electronic music that influenced her and puts it through her own crunchy, ephemeral, but also quirky and also hyperpop influenced filter. To that end, standout “Angel Music” is the 2024 female equivalent to Scary Monsters and Nice Sprites-era Skrillex, with Ninajirachi taking the pummeling vibe of that era, updating it and making it her own. — K.B.
Alan Walker, Joe Jonas & Julia Michaels, “Thick of It All”
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Sometimes you just want to get lost in a big, hooky, feel-good, tearjerky anthem — which Joe Jonas, Julia Michaels and Norwegian electronic giant Alan Walker deftly deliver on “Thick of it All.” Walker laces the pop-forward singalong with a light drum ‘n’ bass influence, a foundation for Jonas and Michaels to belt globally relatable lyrics like “One, there’s no one to blame/ Two hearts don’t break the same way/ I know we’re in the thick of it all,” which swell to a climax of pretty harmonies. The song is out now on Monstercat. — K.B.
Microfilm, Futureproof
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Portland electronic music duo Microfilm achieve a major milestone with the release of their tenth studio album Chimeraz. Packing 11 songs into just over a half-hour, it’s an exploration of what the pair call “mutant pop,” trekking across frenetic soundscapes that touch upon styles like footwork, electro and techno. “The impetus was to make a collection of tracks something like ‘George Michael on Warp Records’ or ‘Modeselektor producing the Pet Shop Boys,’” says member Matt Keppel. On songs like “Quaaludes,” “Collabz” and “Shade,” brash beats meet prismatic melodies and vocals like bubblegum pop thrown in a blender, while “Rabbitholez” gleams with the ominous atmosphere of a full moon on Halloween. Chimeraz’ many textures and layers make it a brain-tickler in the best way. — K.R.
Yunè Pinku, “Half Alive”
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In the leadup to her Scarlet Lamb EP, yunè pinku shares her latest single “Half Alive.” It’s a bittersweet affair, where dense breakbeats cast a shadow against the lightness of dreamy synths above. pinku’s falsetto floats even higher overhead; her reflections on experiences with anxiety and depression imparting a deep wistfulness. The Billboard 2023 emerging dance artist has been expanding her sonic universe on this project, with her previous offering “Believe” leaning into something more alternative-indie. Scarlet Lamb is due out on October 4 via Method 808. Following its release, pinku will join Caribou on a North American tour, which includes stops in L.A., Brooklyn, and Toronto. — K.R.
Mat Zo, “Disco Boy”
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Skinny jeans, EDC in L.A., EDM’s infancy and all things neon: Mat Zo’s latest single is an instant portal to the late 2000s in all their maximal glory. Marking the London-based producer’s return to deadmau5’s mau5trap label, “Disco Boy” is a raucous shape-shifter of a track, moving from frayed-out electro-house to shimmering disco with Animorphs ease. The groove is gritty and head-thrashing, peaking with a hoovering build that threatens to suck out your soul and leave you whirling into the night. (And, if you listen to it three times in a row, Cobrasnake shows up to snap your photo.) — K.R.