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Happy Monday! With new R&B/hip-hop releases dropping left and right, it can be quite overwhelming navigating the newcomers in the genre. But that’s why Fresh Picks exists! This week, we have an eclectic array of sounds, from alt-R&B and Jersey club to jazz rap — everything you need to get you through this second week of July.
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And of course, don’t forget to check out this month’s Fresh Picks (so far) in our Spotify playlist, linked below.
Freshest Find: Dominic Fike, “7 Hours”
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This week’s Freshest Find goes to alt-rock/rap/pop straddler, Dominic Fike: last Friday (July 7), the multi-hyphenate released his second album, Sunburn, a collection of older songs that explores themes related to his past. Fike explores his alt-R&B side with standout album cut, “7 Hours,” where he sings about driving seven hours to see his lover, only for them to not give him the time of day.
FendiDa Rappa feat. Cardi B, “Point Me 2”
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Cardi B is continuing her outstanding feature run by hopping on FendiDa Rappa’s “Point Me 2.” The collab comes after Fendi’s viral Jersey club-inspired single, “Point Me to the Sl-ts,” where she calls out her male counterparts (“N—-as dissing when they rap, should we call it drill?/ N—-as capping in they raps, should we give ’em deals?”) and proudly showcases her lust. Here, Cardi checks in around the 2:20 mark and wastes no times matching Fendi’s energy, rapping, “B—hes talkin’ all that rah rah, I don’t feel it though/ Like the Plan B didn’t work, baby, I’m in this hoe.”
LUCKI, “2021 Vibes”
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The Cash Cobain-produced track “2021 Vibes” sees LUCKI delving deeper into his world of hazy hedonism. Through a drowsy delivery, the Chicago rapper calls himself the “codeine cowboy in the flesh” — which makes sense given the title of its parent album, s*x m*ney dr*gs.
Mick Jenkins feat. JID, “Smoke Break-Dance”
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Mick Jenkins and JID linked to take a smoke break: this bass and piano-driven jazz rap song is particularly introspective, with an accompanying video that shows scenes of Jenkins unbothered amongst chaos and young Black men succumbing to societal pressures. “Smoke Break-Dance” acts as a conversation piece about Black male plight in America, with the end of the video including a bell hooks quote that reads, “The first act of violence that patriarchy demands of males is not violence toward women. Instead patriarchy demands of all males that they engage in acts of psychic self-mutilation, that they kill off the emotional parts of themselves. If an individual is not successful in emotionally crippling himself, he can count on patriarchal men to enact rituals of power that will assault his self-esteem.”
Avenoir, “WHO DO U LUV”
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Slowing things down a little, Avenoir goes deep in his bag on his new single, “WHO DO U LUV.” The Canadian singer questions his lover’s feelings towards him, but also assures that the two can rekindle their emotions by making love, before the four-minute song concludes with an electric guitar solo.
AntsLive, “Ooh La La”
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UK rapper AntsLive is practicing his French on “Ooh La La.” With his (not actual) grandfather in tow in the video, the rising rapper shows a chic side to his repertoire, with his trademark tongue-in-cheek vocals about ongoing relationships and international love interests.
Marques Martin, “Butterfly”
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Brooklyn-based musician Marques Martin collides synths and deep bass lines for a chaotic, yet somehow cohesive, new offering called “Butterfly.” “The beat at most points feels heavy, but then the synth floats euphorically in and out of the song,” he told Billboard about the song’s productions. “The combo gives the track gravity and lets it sit in a middle ground of aggressive/assertive but uplifting.” “Butterfly” appears on his new EP, sex on the first.
In this week’s batch of new songs, Jo Dee Messina extends her current career resurgence with an uplifting empowerment anthem, while Frank Ray offers a 15-song debut that serves as a perfect soundtrack for any party. Elsewhere, bluegrass wunderkind Wyatt Ellis showcases his mandolin prowess on a new song with bluegrass stalwart (and fellow mandolin powerhouse) Sierra Hull. Also, veteran country quartet Girls Next Door reunites again after more than a decade.
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Jo Dee Messina, “Just to Be Loved”
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Following her recent career resurgence, thanks to her classic “Heads Carolina, Tails California” being interpolated as part of Cole Swindell’s chart-topper “She Had Me at Heads Carolina” (in addition to their subsequent collaboration on a remake of track), Messina returns with this uptempo track she wrote with Jess Cates, Tim Nichols and Jordan Mohilowski. Here, Messina’s voice is as charismatic as ever, further elevated by sprightly mandolin and shimmering production. She delivers this song’s uplifting message with conviction, making its statement of valuing self-acceptance and self-love over chasing the adoration of others a worthy addition to the country canon of uplifting female empowerment anthems such as Martina McBride’s “This One’s For the Girls” and Maren Morris’ “Girl.”
Girls Next Door, “What’s This Thing (You’ve Got About Leaving)”
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The quartet of Cindy Nixon Psanos, Diane Williams Austin, Tammy Stephens Smith and Doris King Merrit notched nine singles on the Billboard country charts in the late 1980s and early 1990s, including the 1986 top 10 hit “Slow Boat to China.” The group disbanded in 1991 to focus on their families, and briefly reunited in 2011. They come together again on this fiddle-drenched, harmony-soaked track that reflects on fighting urges to take flight from a steady relationship. Though the production here sounds slightly dated, the group’s harmonies are tight and joyous.
Frank Ray, Frank Ray
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Ray first broke through with his Spanish-incorporating song “Streetlights,” and followed with the top 20 Country Airplay track “Country’d Look Good on You.” Both songs are included on his 15-track debut album, which is a deft mix of country, R&B and Latin. “Wasting Your Words” is a sultry, horn-driven blend of Latin and R&B. Elsewhere, his extends his affable vocal to showcase his range on “Learn Something New.” Evidenced by songs like “Let It Drop,” “Out on Me,” the twangy “Party With Strangers” and the ‘80s pop shaded “Spring Break,” this album is a light-hearted soundtrack that’s perfect for any party.
Drew Baldridge, “Honky Tonk Town”
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Like many artists at the moment, Baldridge draws on the enduring popularity of rock-influenced, high-octane ‘90s country music. He teamed with writers Lydia Dall and Joel Hutsell on this track, which feels like an amalgam of the boot-scootin’, dancehall ready songs that artists like Brooks & Dunn, Alan Jackson and Shenandoah took to the top of the country charts in the 1990s. Propelled by relentless drums and guitars and laced with mandolin and keyboard, this track is a more successful result than most attempts at incorporating ‘90s country, thanks in part to Baldridge’s confident, rollicking vocals.
Lauren Alaina, “Just Wanna Know That You Love Me”
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Alaina prolifically follows her recent Big Loud Records EP, Unlocked, with this pensive piano ballad with a simple plea — she doesn’t require all the finer things in life, and can withstand any adversity, as long she knows her lover’s commitment is uncompromising. It’s fitting that Alaina performed the song on a recent episode of The Bachelorette, as the song’s power-pop balladry construction houses a made-for-television quality. This elegant song comes courtesy of Brandy Clark, Sam Ellis and JoyBeth Taylor, and as always, Alaina displays her versatile, powerful vocals.
Wyatt Ellis with Sierra Hull, “Grassy Cove”
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Mandolin player and teenage phenom Ellis has quickly cemented himself as a sterling newcomer in the bluegrass scene, having shared the stage with artists including Billy Strings, Marty Stuart, and Molly Tuttle, and also having played Merlefest and the Grand Ole Opry. On his latest, Ellis teams with veteran mandolin player and mentor Hull on this gorgeous instrumental piece, with the two musicians layering twin, agile mandolin parts. He and Hull co-wrote this ode to a small town in East Tennessee, with Justin Moses producing the song; impressively, the song is the result of Ellis’ first time in a recording studio.
Camille Parker, “Heartless”
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Parker is a member of CMT’s Next Women of Country Class of 2022, and was a contestant on Apple TV+’s talent show My Kind of Country. Written by Parker, Sara Bares and Reid Sorel, this is a superb, searing track that’s melded in retro-pop. Embedded in this danceable anthem is a empathetic salve for anyone who has followed their heart more than their logic when it comes to a toxic relationship. “That was the last time I’d throw caution to the wind/ I’ll never do it again,” Parker vows atop layers of guitar grooves and pedal steel, resulting a celebratory moment of emotional maturation and freedom.
Kat Hasty, “Why Do Good People Die”
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After releasing the eight-song acoustic project, Drowning in Dreams, in 2021, Hasty returns with the three-song live EP Midland, highlighted by this sparse, rolling acoustic track that puts Hasty’s Texas twang front and center. The introspective song embodies inner contemplation of a musician in her late ’20s, focusing on the struggle between “standing out and fitting in,” between the pull of life on the road, and the tug of guilt that perhaps life would be better spent closer to home. She also ponders the existence of a higher power — and whether that higher power is good, when she sees good people dying around her.
It’s a jam-packed Friday (June 30), with some of today’s biggest stars gearing fans up for the long Fourth of July weekend by releasing new tracks to enjoy. Olivia Rodrigo made her long-awaited musical return with her bloody good new single “Vampire,” Lil Uzi Vert treated fans to a whole new album with Pink Tape, […]
It’s the last day of Pride Month, but certainly not your last chance to check out some new tunes from your favorite queer artists! Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
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From The Japanese House’s thrilling new album, to Mxmtoon’s team-up with Ricky Montgomery & Cavetown, check out just a few of our favorite releases from this week below:
The Japanese House, In the End It Always Does
“Perform my stupid rituals, everything in cyclical,” Amber Bain sings on her new album. “Hold on to this feeling ’cause you won’t feel it for long.” This is the prevailing sentiment behind In the End It Always Does, the sometimes-nihilistic, otherwise-curious new album from The Japanese House that ponders the patterns of our emotional inner lives. Whether it’s a lack of physical connection (“Touching Yourself”), or predetermination in the middle of a relationship (“Morning Pages” with MUNA), Bain examines the cycles of her love life with surgical precision, and through the lens of some impeccably-crafted indie-pop.
Mxmtoon, Ricky Montgomery & Cavetown, “Nobody Loves Me”
Turns out when you take three exceptionally gifted singer-songwriters and put them together on one song, you get a pretty great final product. “Nobody Loves Me,” the collaboration between Mxmtoon, Ricky Montgomery and Cavetown, sees the trio offering up their own interpretations of hopelessly pining after the objects of each of their affection. With soft, silky production that lends itself perfectly to the delicate subject at hand, “Nobody Loves Me” is exactly the kind of song to sit and introspect to.
Greta Van Fleet, “The Falling Sky”
No, it’s not Chicken Little — it’s just Greta Van Fleet letting you know that the sky is, indeed, falling. In this delicious rock single, the band struggles against the seemingly unyielding problems of the world, as frontman Josh Kiszka opines that “I don’t wanna lose this time.” Add in some flavorful guitars and even a brassy harmonica solo, and “The Falling Sky” quickly becomes a must-listen anthem for perseverance — especially given Kiszka’s recent coming out, and the state of affairs for queer people in this country.
Daya, “Juliene”
Looking for a sizzling, sexy anthem for your summer playlists? Enter Daya. “Juliene,” the singer’s latest single, follows Daya as she pursues the titular character down a burning-hot beach so they can find some alone time. Some A+ alt-pop production and an ethereal vocal performance later, “Juliene” transcends into a flowing, scintillating jam that’s bound to get stuck in your head shortly after your first listen.
Chika feat. Freddie Gibbs, “Truth or Dare”
If you’ve ever wanted to be let into a songwriter’s process, then Chika has exactly the song for you. On “Truth or Dare” (featuring a fabulous guest verse from rap superstar Freddie Gibbs) the 25-year-old rapper focuses her aim at the industry and her own career, calling out shallow trends and materialist incentives before turning her focus inward. Throughout the dexterous second verse, Chika slowly deconstructs herself before wondering if any of this is really even worth it. “Nowadays, music about a few seconds that make you sway from side to side,” she spits. “Why am I thinking so much ’bout my lyrics? Forreal I’m just wastin’ my time.” That may be how Chika feels, but we think pressing play on “Truth or Dare” is maybe one of the best uses of your time today.
G Flip, “The Worst Person Alive”
Ever had an ex that decided to treat you like Public Enemy No. 1? G Flip most certainly has, as they explain on their latest single “The Worst Person Alive,” a scathing indictment of the multi-hyphenate’s past relationship. Fueled by a pounding drum beat (performed by G Flip themselves) and seething lyrics that question any and all intentions from their former flame, “Worst Person” seeks to find answers amid the mess and drama of a relationship at its end.
MAY-A, “Lola”
Australian indie-rock star MAY-A wants to talk about growing apart. On “Lola,” the first single off of her forthcoming EP Analysis Paralysis, the singer-songwriter looks her relationship with two different people; the person she gets to be with in private and the person they change themselves into in public. Through the dreamy guitars and subdued percussion, MAY-A paints a vivid image of a relationship where no one knows where they stand, making this an excellently evocative single to kick off her new era.
Check out all of our picks in our Queer Jams of the Week playlist below:
“It’s very nerve-racking,” Olivia Rodrigo tells Billboard during a call a few days before the release of her new single, “Vampire.” But also, she admits, “I haven’t put out music in, what, two years now?”
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Two years, one month and nine days, to be exact: with 2021 debut album Sour, Rodrigo ascended to superstardom and capitalized on the Billboard Hot 100-topping enormity of its lead single, the brilliant breakup ballad “Drivers License.” A pastiche of pop-punk flare-ups, bedroom-pop ruminations and crunchy alternative, Sour led to a best new artist Grammy win, a sold-out 2022 headlining tour, a documentary and a prom-themed concert film… but zero new music from Rodrigo since its release, save for a few previously recorded tunes from her role on the DIsney+ series High School Musical: The Musical: The Series.
Rather amazingly, all 11 songs on Sour have peaked within the top 30 of the Hot 100 — but they haven’t been followed by any bonus tracks, guest features or stopgap songs. No wonder “Vampire,” the lead single to Rodrigo’s forthcoming sophomore album GUTS (due out Sept. 8 on Geffen Records), is arguably the most anticipated new single of the year.
Created with her main Sour collaborator, writer-producer Daniel Nigro, “Vampire” begins as a betrayal-strewn piano ballad in the vein of “Drivers License,” but then busts open into a pop-rock epic full of jittery percussion and wounded, dramatic vocal runs — something like My Chemical Romance’s The Black Parade, refracted through a generation raised on Taylor Swift and Lana Del Rey. “Vampire” represents a go-for-the-gusto pop statement that both pushes Rodrigo’s songwriting forward while also providing plenty for Sour fans. It sounds purposely huge, and like it’s about to be inescapable.
“Putting out a new song is a little bit daunting, but ultimately really exciting,” Rodrigo says. “I just feel really lucky to have so much support coming from all angles.” Below, Rodrigo explains how the song became her new single, and the period of growth she experienced since Sour that will inform GUTS. (Ed. note: this interview has been edited for clarity.)
How did “Vampire” come together?
I wrote it on the piano, the original version, in December of last year, and I really liked it. I remember writing it and feeling like something special was there. And I took it to my producer Dan, and we finished it up together and rewrote some things and produced it. It was quite a long production — it’s pretty lush, so it took us a while. But I’m really happy with the way it came out.
I love how the song opens up after the first chorus into this huge, multi-part, theatrical statement. At what point did it become obvious that this would be the lead single?
We always said that it was kind of our version of a rock opera. [Laughs.] I think as the album was coming together, we were coming up with a bunch of songs that we really liked, but this one always stuck out to me as something that I felt like was honoring my singer-songwriter roots, but felt like an evolution — in a good way that wasn’t too stark. And so I really liked it for that, and it was always one of my favorites.
I’m curious about the messaging of the song — your take on someone using you, and leeching off of your fame. Where did those themes come from? Had they been rattling around in your mind for a while?
I think it’s just a song about feeling used, and all of the anger and regret and heartbreak that comes with it. And I think that’s a common feeling, whether or not someone’s famous. That was something that was just really bubbling inside of me — it’s kind of an angry song, and I think I have a lot of trouble expressing feelings like anger and regret, those are particularly tough ones for me to express. I go to songwriting to get those feelings out that aren’t super comfortable to express in everyday life. So it was a very therapeutic experience, writing this song.
It’s hard to imagine how cathartic this one is going to feel for you when you first perform it live.
Oh my gosh, I’m so excited. I’m really excited for the live show — I feel like the album is shaping up to be a really fun set.
You’ve spoken recently about the incredible growth you’ve experienced over the past two years — this whirlwind that included Sour, touring, the Grammys, traveling, now writing again. When you look back on the past two years, what was the most surprising part, something that the Olivia of two years ago never would have expected?
I mean, the Olivia of two years ago definitely wouldn’t have expected her career to do all the crazy, wonderful things that it did so quickly, and I’m very grateful for that. I’ve changed so much in the past few years. All that crazy stuff happened in my career — “Drivers License” came out and it broke all these records, and I was lucky enough to win some Grammys, which was a huge dream of mine ever since I can remember.
But I think the most change I’ve felt was just in Olivia as a girl — growing up and changing from being a teenager to a 20-year-old. All of the maturing and figuring yourself out, that’s just on a normal human-to-human level — I think that was the most surprising thing for me.
Is the pressure you’re feeling ahead of this single release significantly different than what you were feeling ahead of “Drivers License” or Sour?
Totally. It’s definitely a different feeling, and it felt different making this album too. I mean, it’s a lot of pressure. I’d be lying if I said that I didn’t feel that. But I think I got to a place throughout making the record where I really shifted my perspective from being like, “Oh, we have to make something that’s gonna impress everyone, and beat the last one!” All of this was just swimming in my head, and I wasn’t writing songs that I resonated with. It wasn’t productive, and conducive to good work.
And so I had to shift my perspective into just trying to make music that I would like to hear on the radio, and once I did that, things started flowing a little easier. So I just try to maintain that that perspective.
How indicative is “Vampire” of the sound of the rest of the album?
I actually feel like the album is really, incredibly diverse. There are other kinds of ballads — I guess I consider “Vampire” a ballad on the record — but yeah, I don’t know! It’s all pretty different.
With “Drivers License,” you translated this painful personal moment into something relatable for a wide audience. Now that you’re at the top of that roller coaster again with this lead single and ready to rush down, how does it feel to be sharing this new piece of yourself?
I mean, not gonna lie, it’s pretty scary! I was definitely a little more dauntless last time with “Drivers License,” because I had no idea that anyone would listen to it – but it’s scary to think about putting a song out into the world that’s vulnerable and represents painful feelings for you.
I’m just trying to not think about it, to keep my head down and do all the work. Everything else is out of my control. It’s kind of nice to give it to people, and then it’s not yours anymore. It’s a beautiful thing! So I’m just trying to remember that.
As we head into the final weekend of Pride celebrations around the U.S., get into some of our favorite new releases from LGBTQ artists! Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
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From Kim Petras’ long-awaited new album to Demi Lovato’s seething new anthem for abortion rights, check out just a few of our favorite releases from this week below:
Kim Petras, Feed the Beast
What is the titular Beast of Kim Petras’ new album? For each person it’s different, but for the fast-rising pop superstar, it’s pop music itself. Throughout Feed the Beast, Petras gives in to every pop urge she’s had throughout her career, leaning hard into the Eurodance and rave tracks that raised her (employed to particularly excellent effect on album standout “King of Hearts”), while also dipping a toe back into the bubblegum stylings of her past performances. It’s a relentless, thrilling rollercoaster of pure pop indulgence — which is nothing less than what you’d expect from Petras.
Demi Lovato, “SWINE”
If you thought Demi Lovato was angry on Holy Fvck, you’d better sit down for their new single. “SWINE” is Lovato at her most furious, fueled by righteous indignation at the looming first anniversary of the U.S. Supreme Court overturning Roe v. Wade. Pounding, relentless drums and roiling guitars make “SWINE” sound like a long lost nu-metal anthem, as Lovato bitterly snipes, “F–k what I think, I don’t know a thing/ The government knows my body.” That sound only adds to the star’s seething vocal, as they rage against the system that aims to strip women of their bodily autonomy. When Lovato sings to “give these motherf–kers hell,” it doesn’t sound like a lyric; it sounds like a call to action.
Boyish feat. King Princess, “Kill Your Pain”
There’s just something about the pairing of indie-rock duo Boyish and queer star King Princess that works perfectly. On “Kill Your Pain,” the new collaboration from the trio, Boyish & King Princess are completely in-synch, as they lament a relationship so all-encompassing that they began to lose sight of their individuality. Mikaela Straus fits just right with lead singer India Shore, as they trade verses back and forth about the frantic, messy realization of a connection this doomed.
Hayley Kiyoko, “Somewhere Between the Sand and the Stardust“
With her new single, Hayley Kiyoko is letting us in on something hard. “Somewhere Between the Sand and the Stardust” follows the pop singer as she processes her own grief in the wake of a friend’s death. Her voice, brimming with layers of rich vocoder notes, mournfully tries to make sense of the passing, while also acknowledging the end of her friend’s pain. It’s a heartbreaking ode to losing those we love, and one we highly recommend listening to.
Big Freedia, Central City
Big Freedia never went away — but this week, she’s back in a big way. Central City, the bounce icon’s first full-length studio album in nearly a decade, serves as a hand-guided tour from Freedia through the sonic landscape of New Orleans, featuring all the bounce and hip-hop you could hope to get your hands on. Dash in massive guest appearances from stars like Lil Wayne, Ciara, Faith Evans and plenty more, and you’ve got a monumental moment for the Queen Diva on your hands.
The Blessed Madonna feat. Jacob Lusk, “Mercy”
It’s time to let your hair down, queers — The Blessed Madonna is here with a brand new Pride anthem, just in time as the final festivities of June begin to take place. “Mercy,” featuring vocals by the enchanting Jacob Lusk of Gabriels, is a slice of house music heaven, complete with a four-on-floor beat and some groovy bass to elevate the vibe. By the time the choir kicks in on the song’s post-chorus, you’ll be giving it your all on the dancefloor.
Kidd Kenn, “Everywhere I Go”
For those who have been following the career of up-and-coming rapper Kidd Kenn, be warned; his new era is upon us. “Everywhere I Go” sees the once-rapid rapper switching up his style — gone are the flexed out bars of past singles, now replaced by a more melodic, more even-keeled flow. With that flow comes a new attitude; throughout the track, Kenn exudes nothing but cool, collected confidence on this delectable new offering.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Young Thug takes care of Business, Peso Pluma steps fully into the spotlight, and Nicki Minaj and Ice Spice reinvent a pop classic. Check out all of this week’s picks below:
Young Thug, Business is Business
More than just serving as Young Thug’s follow-up to 2021’s wide-ranging Punk, Business is Business represents a show of support from the hip-hop community — as the groundbreaking MC remains incarcerated after being arrested as part of a RICO sting last year, rap’s best and brightest stop by the full-length to pay homage, with Metro Boomin executive producing and Drake, Future, 21 Savage and Lil Uzi Vert contributing guest spots. Business is Business may be a symbolic gesture featuring reanimated material more than a bold new creative endeavor, but hearing Thugger’s elastic voice stretched across an impressive new collection of beats still satisfies as a stopgap until he’s home and back in business.
Peso Pluma, Génesis
At 24 years old, Hassan Emilio Kabande Laija, better known as Peso Pluma, has spent this year helping to bend the pillars of North American popular music toward his sound, as Mexican music and its decades-old hallmarks have been refurbished for a fresh generation and, from a charts perspective, have exploded well beyond the wildest expectations of the genre’s supporters. Pluma has become the de facto leader of this new school, thanks to smashes like “Ella Baila Sola,” “La Bebe” and “Por las Noches”… and the fact that none of those songs appear on the track list to his rollicking new album Génesis illustrates his confidence that his earthy instrumentation and high, prodding croon will keep spreading beyond a handful of hits.
Nicki Minaj & Ice Spice with Aqua, “Barbie World”
Nicki Minaj has scored some of the biggest hits of her career while sampling classic singles like Sir Mix-a-Lot’s “Baby Got Back” and Rick James’ “Super Freak,” so when the leader of the Barbz announced that she had reworked Aqua’s “Barbie Girl” (alongside new BFF Ice Spice) for the upcoming Barbie soundtrack, the pairing made all too much sense. Yet “Barbie World” surprises with its structure: instead of letting their verses dance around Aqua’s iconic hook, Minaj and Ice Spice trade lines relentlessly for under two minutes, a giddy rap assault in which the best lines (“I’m a 10, so I pull in a Ken,” Nicki sneers) need to be run back a few times.
Kim Petras, Feed the Beast
Kim Petras boasts two distinct fan groups as she releases her long-awaited debut album: the day-one diehards who have streamed every mixtape, guest spot and themed EP, and the “Unholy” crowd, who caught wind of the pop star when her chart-topping collaboration with Sam Smith yielded a mainstream breakthrough. Both audiences will love Feed the Beast, a dance-pop opus with plenty of potential hits — the turbo-charged “King of Hearts” is going to highlight plenty of club nights this summer — as well as the type of idiosyncratic fun that Petras has specialized in since 2019’s Clarity, particularly in the sexual liberation of the album’s second half.
Portugal. The Man, Chris Black Changed My Life
The story behind Chris Black Changed My Life is crucial to fully appreciating the return of Portugal. The Man, who scored the type of crossover smash single that most bands can only daydream about with “Feel It Still” in 2017, then proceeded to have their lives upended due to professional false starts and personal trauma. While Chris Black Changed My Life is the definition of a hard-fought album — the title honors a dear friend of band leader John Gourley and his untimely passing — the full-length also isn’t overly heavy, as songs like “Grim Generation,” “Ghost Town” and lead single “Dummy” invite the type of sing-alongs that helped Portugal. The Man break through six years ago.
Bizarrap & Rauw Alejandro, “BZRP Music Sessions, Vol. 56”
Bizarrap has been on a tear: just three weeks after linking up with Peso Pluma for Volume 55 of his viral YouTube collaboration series, the Argentine producer has recruited Puerto Rican superstar Rauw Alejandro and quickly turned around Volume 56. The magic of the series rests in the way that Bizarrap can contort his musical foundation toward the strengths of his collaborator while also not betraying his tone; “Vol. 56” plays out like a particularly crackling Alejandro summer jam, but Bizarrap’s fingerprints are all over its shape-shifting percussion and breathless sonic flourishes, a master bringing another A-lister into his craft.
Editor’s Pick: Militarie Gun, Life Under the Gun
A string of promising EPs over the past three years suggested that, like Turnstile before them, Los Angeles quintet Militarie Gun had a shot at bringing an accessible brand of hardcore to the masses, especially if their sound could coalesce on a full-length. Life Under the Gun is exactly that album — driving and jaggedly catchy, the collection of 12 songs pummels the listener with chunky riffs and brash hooks, and Ian Shelton knows exactly how to deliver a soaring melody while also sounding like he’s about to swallow the microphone whole.
Damsel in distress be damned — Kim Petras is ready to liberate herself with her brand new album. On Friday (June 23), Petras unveiled her long-awaited new album Feed the Beast via Republic Records / Amigo Records. Spanning 15 tracks, the new album soundtracks the fast-rising trans pop star’s journey toward self-acceptance, styled around the […]
Olivia Rodrigo is coming back with a bite. At long last, the 20-year-old pop star has finally unveiled details about her first project since her 2021 multi-platinum debut Sour — a single titled “Vampire,” arriving later this month.
“my new song vampire is out june 30th!” Rodrigo wrote on Instagram Tuesday (June 13). “you can presave now. so excited for this ahhhhh!!!!!!! 🖤🩸💜🫀❤️”
The “Deja Vu” singer also shared the single’s cover art, which shows a close-up black-and-white photo of Rodrigo’s side profile. She sports dark lipstick, winged eyeliner and two Band-Aids forming a cross on her neck, signifying the location of a vampire-fang puncture wound. The bandages are edited to be the only part of the photo that’s in-color, a lilac purple shade that matches the cover of Sour.
The High School Musical: The Musical: The Series actress also posted a slightly longer note on her website, where the digital single is available for pre-save and physical copies are available for pre-order.
“Hi guys!” the note reads. “Im so excited to announce that my new single ‘vampire’ is coming out June 30th!… so excited for this new chapter. thank you so much for all your support. love always, Liv.”
Both the CD and vinyl — which is tinted a bright blood red — include “Vampire” as well as the track’s first demo, according to Rodrigo’s online store. Also on the store, the cover art boasts a Parental Advisory: Explicit Content sticker.
Fans have suspected for weeks that Rodrigo’s highly anticipated next move would be set into motion on June 30, especially after a mysterious timer counting down to that date appeared on her website. The expiration date on her “drivers license” Spotify graphic was also altered recently to read “6-30.”
“Vampire” will serve as Rodrigo’s followup to her record-breaking debut effort Sour, which featured two Billboard Hot 100 No. 1 hits (“Drivers License” and “Good 4 U”). In June last year, the album became the longest-running debut record this century to remain in the Billboard 200 top 10 at more than 52 weeks.
“By focusing on intimate storytelling, crafting iconic choruses, and effortlessly building a passionate fandom, Rodrigo has ascended to the very pinnacle of pop,” reads a press release for “Vampire.” “Her music has become an integral part of this era’s soundtrack. With ‘vampire,’ she is poised to begin an exciting new chapter.”
See Olivia Rodrigo’s “Vampire” announcement below:
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