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      "name": "The Life of a Showgirl: The Encore",
      "link": "https://music.apple.com/us/album/the-life-of-a-showgirl-the-encore/6814997249",
      "artist_name": "Taylor Swift",
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      "record_label": "Taylor Swift",
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      "release_date": "2026-09-24",
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        "tagline": "New Release",
        "short": "Curtain call! The superstar adds four new tracks to her 2025 opus.",
        "full": "What’s a girl gonna do after the record-smashing Eras Tour? Well, its success sparked the flame inside Taylor Swift that led to a reunion with former collaborators Max Martin and Shellback for her 12th full-length, The Life of a Showgirl. Indeed, in a very showgirl manner, Swift flew back and forth to Sweden between stops on her European leg—remember, the singer-songwriter believes “jet lag is a choice”—to join Martin and Shellback, Swift’s co-writers and producers on some of the most memorable and popular hits of her career (“We Are Never Ever Getting Back Together,” “22,” “Shake It Off,” “Blank Space,” “Don’t Blame Me,” and “Delicate,” to name a few). The result? A confident, dazzling, at times elegant, at times cheeky, at times sensual pop explosion that examines Swift’s relationships and her fame, which is both deeply personal yet extremely relatable...mostly. (The struggles of “Elizabeth Taylor”—with its thumping rock vibes—can understandably be reserved for the uber-famous showgirls in the room.)\n\n“This album, by personality, was a funnier album,” she tells Apple Music’s Zane Lowe. “It was coming off of TORTURED POETS DEPARTMENT—the character attributes I was highlighting in that writing process were much more serious and sensitive and introspective, and oftentimes more earnest and stoic, and the characteristics of a poet. This one was like, showgirls are mischievous, fun, scandalous, sexy, fun, flirty, hilarious.” On the album’s first single, “The Fate of Ophelia,” Swift tests that theory by dipping back into the Shakespearean well that earned her crossover success and adoring fans, and once again, she turns the Bard’s tale into a romance rather than a tragedy. But this time, it’s more mature and fierce—as the acceptant heroine resigns herself to solitude before the hero ever comes around: “I swore my loyalty to me, myself, and I/Right before you lit my sky up.”\n\nHer muses, of course, will be well-dissected. The aforementioned savior in “Ophelia” is most likely Swift’s then husband-to-be, the three-time Super Bowl champion Travis Kelce. (She did, after all, announce the album on his podcast.) And he probably has a few more cuts dedicated to him—the most direct being the saucy, ’70s-funk-infused “Wood” and its “new heights of manhood” revelation. “When I met Travis, I started to feel a little bit like I could be like a person who could have romantic whims and have these dreams,” she says.\n\n“Actually Romantic,” with its semi-stripped-down production, deals not with a lover but with a certain hater. “You think I’m tacky, baby/Stop talking dirty to me/It sounded nasty, but it feels like you’re flirting with me/I mind my business, God’s my witness that I don’t provoke it/It’s kind of making me wet,” Swift teases. And “Father Figure” pays homage to George Michael with Swift’s breathy vocals, ending with a menacing act of betrayal by a protégé: “You made a deal with this devil/Turns out my dick’s bigger/You want a fight, you found it/I got the place surrounded.”\n\nImportantly, though, remove Swift’s own personal inspirations and score-settling, and you get what she does best: vibrant songs that speak to universal emotions through her storytelling. The buoyant “Opalite” shows two people finding each other at the right time; baroque-pop “Wi$h Li$t” portrays someone who knows what her heart desires. And “Eldest Daughter,” the famous track 5—generally one of Swift’s most vulnerable on each of her albums—reveals a promise of devotion.\n\nIn its first iteration, Swift ends the record on its title track, an epic duet with Sabrina Carpenter where the women volley back and forth about a girl named Kitty, perhaps alluding to their own places in the world. “And all the headshots on the walls of the dance hall are of the bitches who wish I’d hurry up and die/But I’m immortal now, baby dolls, I couldn’t if I tried,” Swift sings proudly. In other words, as she’s proven time and time again, she’ll never go out of style.\n\n“Making this was really something I’ve been wanting to do for my entire career, because I have always wanted to have fun in this type of way,” she says. “To have fun, to exhibit mischief and be flirty and fun and make jokes—that’s a huge part of my personality. Oftentimes, I get so serious, or I’m really known for a lot of my sad songs, my cathartic songs or breakup songs or whatever, because I love to write those things—but that’s not the place I’m in my life. So, what I have left behind is something that really exhibits who I am in this moment.”\n\nAfter its blockbuster release, she realized she wasn’t quite done with that moment (despite her insistence on the aforementioned podcast). Another Swift trip to the Nordic land led her to the studio flanked by Martin and Shellback again, ending in the production of four new tracks for an expanded edition, The Life of a Showgirl: The Encore, in 2026.\n\nThere’s the consoling “Patient Zero” and its violin-tinged melody; the glockenspiel-backed “Cleveland!”—famously Kelce’s hometown—an upbeat and carefree ode to discovering the person “who doesn’t find you completely insufferable”; plus “Pink Clouding” and “Babylon,” both stylishly nostalgic reflections on regret. All adding more layers to the inner life of one of the planet's biggest superstars."
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      "id": "6804021807",
      "name": "NEVER ENOUGH: VERSIONS",
      "link": "https://music.apple.com/us/album/never-enough-versions/6804021807",
      "artist_name": "Turnstile",
      "release_type": "album",
      "record_label": "Roadrunner Records",
      "copyright": "℗ 2025 Roadrunner Records Inc.",
      "upc": "075679560636",
      "release_date": "2026-08-28",
      "track_count": 36,
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        "tagline": "New Release",
        "short": "Sir Elton John meets Dying Fetus on a reimagining of the 2025 juggernaut.",
        "full": "If there was ever any doubt about Baltimore hardcore crew Turnstile’s eclectic tastes, VERSIONS will safely put that to rest. This reimagining of their Grammy-winning, genre-busting 2025 album NEVER ENOUGH includes contributions from an incredibly wide variety of handpicked musical guests that amounts to a kaleidoscopic cross-section of modern music.\n\nIt’s unlikely that Sir Elton John and Baltimore slam-metal kings Dying Fetus will ever appear on the same album again, but the artist formerly known as Reginald Dwight is tickling the ivories on “SEEIN STARS” while John Gallagher’s death-dealers carve off a vicious version of “BIRDS.”\n\nThe diverse interpretations stretch the definition of a remix album, adding layers and directions to an album that already made its mark by stretching the definition of punk. Each of the original tracks gets a radical new take; several get more than one.\n\nBlood Orange’s airy take on “LIGHT DESIGN” is dreamy and mellow; French singer Oklou’s is somber and vaguely churchy. Paramore’s Hayley Williams’ expansive version of “CEILING” is soulful and sedate—and more than twice as long as the blink-and-you’ll-miss-it 1:13 of the original.\n\nBritish jazz guru Shabaka Hutchings’ skronky sax takes “SLOWDIVE” on a Sun Ra-esque journey, far away from the song’s Sabbathian origins. Turnstile vocalist Brendan Yates’ punk compatriots in Angel Du$t dispense with the Zen finale of “SUNSHOWER” and replace it with pure punk aggression."
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      "id": "6789739137",
      "name": "Popstar",
      "link": "https://music.apple.com/us/album/popstar/6789739137",
      "artist_name": "Tinashe",
      "release_type": "album",
      "record_label": "Nice Life/Atlantic",
      "copyright": "A Nice Life Recording Company and Atlantic Records release., ℗ 2026 Tinashe Music Inc., under exclusive license to Atlantic Recording Corporation.",
      "upc": "075679570758",
      "release_date": "2026-09-25",
      "track_count": 16,
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        "tagline": "New Album",
        "short": "A bold vision of pop’s possibilities: “This is an embodiment of that energy.”",
        "full": "“I have realized that I am the through line between all of my different interests and inspirations,” Tinashe tells Apple Music’s Zane Lowe. “I don’t worry about them feeling cohesive, because I know that what I’m going to bring to the table is always going to bring that thread of connectivity—whether it just be a concept, an idea, my melodies, or background vocal choices.” On her eighth album, Popstar, Tinashe pulls together a wild assortment of threads, creating a vivid, singular statement that is as satisfying to listen to as it is to dissect.\n\nSince breaking through in the mid-2010s with the club-ready dreamscape “2 On,” Tinashe has forged her own path, resisting any attempts to stick her in a genre box. Popstar is a wild ride, with the heavy bass on the speedy “Too Easy” bumping up against the hyperactive glitch of “Melatonin,” and even a big ballad, the larger-than-life vocal showcase “I’d Rather Be Alone.”\n\nPopstar shows how Tinashe has become more confident in her artistry, and how that self-assuredness has inspired her to expand in a way that defies people’s expectations, with songs like the boastful “Flashbacks” and the high-velocity “Cloud 9” taking concepts of form and structure, then throwing them out the window.\n\n“When I think of the word ‘popstar,’ I don’t think of it as something that’s exclusionary of other genres,” she says. “It’s all of these things combined. It’s all of them when they come together and are presented in this amazing package. This is an embodiment of that energy.”"
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      "artist_names": "Dom Dolla, Calvin Harris, Peggy Gou, Swedish House Mafia, and more",
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        "short": "Get ready for the livestream and listen to the artists in the lineup.",
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      "id": "1894997820",
      "name": "The Great Divide: The Last Of The Bugs",
      "link": "https://music.apple.com/us/album/the-great-divide-the-last-of-the-bugs/1894997820",
      "artist_name": "Noah Kahan",
      "release_type": "album",
      "record_label": "Mercury Records",
      "copyright": "℗ 2026 Mercury Records, a division of UMG Recordings, Inc.",
      "upc": "00199957329156",
      "release_date": "2026-04-25",
      "track_count": 21,
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        "tagline": "New Album",
        "short": "After Stick Season comes a season of reckoning, repair, and restoration.",
        "full": "“I describe this album as like I’m in the shower and I’m half yelling at the showerhead and pretending it’s whoever I want to talk to and taking responsibility or throwing blame, like those conversations that you wish you could have with people but have never been able to,” Noah Kahan tells Apple Music of his fourth album The Great Divide.\n\nUnderneath Kahan’s trademark folksy veneer lies an urgent, high-stakes reckoning. Following the breakthrough success of 2022’s Stick Season, the Vermont-native singer-songwriter was left to assess the impact—not just on himself, but on those closest to him. “My life hasn’t just gone away and the impact of the music I made and the person I’ve become doesn’t just escape from these people just because they haven’t been living out on the road with me,” he says.\n\nWith longtime producer Gabe Simon and a few new collaborators in tow, including Aaron Dessner (“I felt very lost and I kind of just like trauma-dumped on him and he took it so well,” Kahan says) and pop whisperer Amy Allen (who’s written for the likes of Sabrina Carpenter and Olivia Rodrigo), Kahan weaves through the highs and lows of returning home again. \n\nKahan also marks a big distinction between his last album and this one, mirroring his own growth. “Stick Season is like doing shrooms and thinking you understand the entire world, and The Great Divide is like three months later: ‘That was great and that was helpful, but there’s a lot more we gotta figure out still,’” he says. “He’ll do some shrooms with you, but he’s not going to pretend like it’s going to change his life. He’s not going to become a kayak guide somewhere. He has to go to work in the morning.” Below, Kahan takes us through four key tracks in his own words:\n\n“End of August”\n“I wanted to create a scene that just felt like late summer in Vermont or in a small town where there’s just that total quiet and you can almost hear music in the air. One thing that my family and I have in Vermont is, like, I walk through the woods and the woods are haunted, but not by mean spirits. We’ve all individually said, ‘Oh, I heard voices in the woods,’ and when I was writing that, I wanted it to feel like what those voices would sing if you were just like walking through the woods or driving past the woods in Vermont.”\n\n“23”\n“The song itself is not based on a story of my life, but based on a lot of friendships I have with people who have family members who are struggling with addiction or who have siblings who they can’t connect to. It’s that feeling of ‘I want you back, but I don’t want this version of you back’ and ‘I want that moment when we were sitting over the car hood and you were showing me how the engine worked and everything was normal.’ And so seeing who you are now betrays this version of you that I really want you to be in this memory I have of you. It’s a little selfish, because it’s like you’re asking someone to change for you, but it’s that kind of childlike innocent hope that someday we’ll just be exactly where we were.”\n\n“Porch Light”\n“I always worried that my mom felt or my family felt like I wasn’t myself anymore and that I was just some ghoul that would come in to extrapolate further success or further emotion for my own gain. The truth is my mom never felt that way. She always felt she always showed me love and showed me patience and understood the gravity of what I was going through. I wanted that hope to be in there, like, ‘I’ll leave the porch light on for you.’”\n\n“Dan”\n“There’s a few lines in the album that I feel like speak to that present feeling of, like, you’re already there. Like, heaven is a drink in the backyard. Like, where do we go when we die? I wouldn’t mind if it was right here. I wouldn’t mind if I was sitting by the fire with my buddy, or even lost in the woods, or even in a moment of, like, there’s something scary happening but you’re with this person and you’re experiencing this together in the same exact way.”"
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      "id": "6815843152",
      "name": "HIT-A-THON",
      "link": "https://music.apple.com/us/album/hit-a-thon/6815843152",
      "artist_name": "DDG",
      "release_type": "album",
      "record_label": "DDG/Epic Records",
      "copyright": "℗ 2026 DDG Entertainment Inc., under exclusive license to Epic Records, a division of Sony Music Entertainment.",
      "upc": "196874797587",
      "release_date": "2026-09-25",
      "track_count": 15,
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        "tagline": "New Album",
        "short": "An impromptu jam livestream inspires an LP of spontaneous collaboration.",
        "full": "DDG’s 2026 album began as an impromptu jam session with friends and collaborators, a livestream that became such a runaway hit that the video creator and rapper turned the exercise into a new full-length.\n\nDespite the spontaneity with which it was made, HIT-A-THON features some of the hallmarks that have helped turn DDG into a star, all the while capturing the sort of intangible mysticism that’s integral to the songwriting process.\n\nDDG does an excellent job moving his own vision toward those of the collaborators who roll through. The Babyfxce E-featuring “BUTTONS & SWITCHES” sports the menacing string loop that’s become popularized in E’s home state of Michigan, while DDG joins SOB x RBE in bringing Northern California hyphy vibes on the R&B-inspired “BAY 2 DA YAK.”\n\nHe saves his solo stint for “5AM IN ATLANTA,” a tribute to Drake’s “time and place” songs and the city in which HIT-A-THON was made.\n\nOur Favorite Beat: the sludgy, industrial churn of the Lil Yachty-assisted “POP IT.”"
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      "id": "6792048044",
      "name": "I'm So Happy",
      "link": "https://music.apple.com/us/album/im-so-happy/6792048044",
      "artist_name": "Ms. Rachel",
      "release_type": "album",
      "record_label": "Songs For Littles",
      "copyright": "℗ 2026 Songs For Littles, LLC",
      "upc": "820233141529",
      "release_date": "2026-09-25",
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        "short": "The beloved entertainer makes her highly anticipated debut.",
        "full": "To the cheers of families everywhere, Ms. Rachel (Rachel Accurso) turns the songs from her beloved series Ms. Rachel—formerly known as Songs for Littles—into a sweet and joyful full-length debut album, I’m So Happy.\n\nInspired by her son’s journey, the children’s entertainer began using her education background to help kids with speech delays through music on her YouTube series in 2019. Working alongside her husband, composer Aron Accurso—who appears as Mr. Aron—the pair create the tracks that help develop language in preschoolers.\n\nRenditions of traditional tunes (“Icky Sticky Bubble Gum” and “Hop Little Bunnies” to name a few) and fun originals (“I Love a Rainbow” and “Big Feelings”)—which have all appeared over the years on her show—capture the heart and soul of Ms. Rachel’s mission in the set."
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      "id": "6801309650",
      "name": "They Forgot",
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      "artist_name": "Tee Grizzley",
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      "release_date": "2026-09-25",
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        "short": "The Detroit rap mainstay reminds everyone why he’s still here.",
        "full": "Few rappers—out of Michigan or anywhere else—appear capable of the consistency that Tee Grizzley has demonstrated and delivered over the course of the last decade. Though chart success remains one metric to judge an artist’s discography, what kept the Detroit native in the proverbial conversation up until now goes beyond mere numbers, feeding his fanbase again and again with high-quality albums like his 2025 double shot Forever My Moment and Street Psalms. If the title of his 2026 project They Forgot signifies anything, it’s that he remains perpetually ready to cut through the noise to remind everyone why he’s still here.\n\n“99 Ovrall” and “Back Ina Yams” embody his outlook as well as his aesthetic, with regionally reliable beats banging behind his increasingly astute observations and anecdotes. While technically in his early thirties, he’s lived the sort of life that comes with rap fame and street infamy, vigorously documenting the ups-and-downs on cuts like “Locked Up In Mexico” and “No Effort 2.”\n\nHe rattles off the particulars of his come-up on the anecdote-laden “Detroit Public Schools” and “How,” later reinforcing the vitality of his ongoing presence in the game on the soul-stirring “Grizz They Need You.” And while They Forgot limits the feature selection to a downright austere handful of tracks, his inclusion of Skilla Baby intensifies the impact of the Ashanti-blessed “Rain.”\n\nOur Favorite Track: Emphasizing Grizzley’s enviable track record as a collaborator, “Hard Times” invites Floridian phenom Hurricane Wisdom to contribute his own rags-to-riches narrative."
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      "name": "That's Just Me",
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      "artist_name": "Riley Green",
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        "tagline": "New Album and Interview",
        "short": "The singer-songwriter prides himself on reflecting his interests, not trends.",
        "full": "Riley Green is allergic to complacency. The singer-songwriter—and, as of 2026, coach on The Voice—prides himself on making albums that reflect his wide range of influences rather than the trends of the day. Produced by Dann Huff (Keith Urban, Rascal Flatts), That’s Just Me lets Green indulge those influences across 19 tracks, with featured artists including country icons Brooks & Dunn and rising star Hannah McFarland.\n\nGreen curated a mix of solo writes, co-writes, and outside cuts to achieve that sense of well-roundedness, which coheres thanks to his ever-charismatic performances and Huff’s mellow, largely acoustic production. The McFarland duet “Go Again” is an early fan favorite, and finds the pair trading verses about the bittersweet aftermath of a one-night stand. “Bartender in Destin” is technically a beach song, but the opening interplay of fingerpicked dobro and acoustic guitar keep the tune grounded in the Appalachian sounds of Green’s northeast Alabama roots.\n\nBelow, Green shares insight into several key tracks.\n\n“Beach Happy”\n“I grew up in the era of burnt CDs, and it would have 2pac and then Tim McGraw and then Merle Haggard. I think that’s the way I like to do records. So, I wanted that little beach moment in there, and that one and ‘Bartender in Destin’ really did that for me.”\n\n“Well Well Whiskey” (feat. Jake Worthington)\n“Jake’s the closest to George Jones that I’ve been around vocally. But he also goes places that I wouldn’t go. His moves and his runs are different and unique. I’ve been a fan of him forever. I wrote that song probably three years ago. He was touring with me in Australia and I just looked at him. He was like a cartoon. He’s so country. I was like, ‘Jake, I got a song I’m going to cut, if you want to be a part of it.’ And he crushed it. I would find myself fast-forwarding to his part when I listen to it because he sounds so good on it.”\n\n“Ten Pairs of Boots”\n“That song is what country music is to me. One thing I’ll say about [songwriter] Chase [McGill] is he can do a lot of different things. I’ve had some success as a songwriter and solo writes and all that, but I live in my world and I do what I do. And sometimes I venture out a little bit, but I have a thing. Chase does a lot of different stuff.”"
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      "name": "CONFESSIONS II: Afterhours Edition",
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      "artist_name": "Madonna",
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        "short": "The Queen of Pop returns to the dance floor in search of freedom and sanctity.",
        "full": "When it comes to setting the record straight there are few more qualified to do so than Madonna, a lifelong dancer whose symbiotic relationship with underground club culture pre-dates her 40-plus-year reign as the Queen of Pop. Co-produced alongside Stuart Price—the mastermind behind 2005’s Confessions on a Dance Floor, to which this album serves as a spiritual successor—and featuring contributions from hitmakers including Cirkut, Tainy, and frequent collaborator Mirwais, CONFESSIONS II carves out, according to that interlude, “a ritualistic space where movement replaces language.”\n\nEver an advocate for the belief (to borrow a phrase) that music makes the people come together, CONFESSIONS II makes unity more of a priority for Madonna than ever before. “No one wants to go outside,” she sings on “Everything,” disrupting the pulse of shape-shifting beats with a confused shout: “It’s not OK/I don’t fuck with it!” \n\nAnd yet, outside is where the party’s at—as she makes clear on “Danceteria.” Over bright disco beats evocative of her 1982 debut “Everybody,” Madonna narrates the events of a night out at the titular NYC club where her journey to superstardom began. Outside is the place to be both seen (with Debi Mazar, with Basquiat, with Nile Rodgers) and simultaneously to be rendered invisible: liberated from your own personal hang-ups, just another body in the crowd. \n\n“That’s why I like to go dancing…” she confides on the airy, untethered lead single “I Feel So Free,” whispering the words “safety in numbers” like a secret incantation meant to be heard and understood by those most in need of its protection. It’s music as religion, choreography as communion, DJ made deity. And “it’s good for the soul,” as she reminds us, two tracks deep into the album’s continuous 64-minute mix. “To let down your hair and breathe in the air.”\n\nWith her point more than proven, the back half of the record leaves room to explore everything else on Madonna’s mind. Anthemic Martin Garrix collaboration “Bizarre” centers on love and its absurdities; “Fragile” pays open-hearted tribute to her late brother Christopher Ciccone, and the well-documented turbulence of their relationship, while “The Test,” addressed to “Little Star”—aka Madonna’s eldest child Lourdes Leon, who also features on the track—finds mother and daughter healing emotional wounds over propulsive, Arca-assisted beats. \n\nAs the album nears its end point, the pace slows but the dynamic elements of the production accelerate, opening up to more experimental sounds, a testament to Madonna’s relentless desire to push her own boundaries, even as she retreads familiar ground.\n\nAs for the sky-high expectations set by its predecessor, it would be fair to say that capturing lightning in a bottle even once is a rare enough feat that twice would be nothing short of a miracle. If CONFESSIONS II doesn’t quite achieve the impossible, the fact that 21 years later, both Madonna and Price are still chasing the storm holds a power of its own."
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        "short": "The NYC metal vets get reflective on their first album in a decade.",
        "full": "“The first goal was getting motivated.” That’s what Anthrax drummer and chief songwriter Charlie Benante says about the veteran thrash band’s first album in a decade. “It takes a lot to write a record, and I wasn’t really up to it for a long time. When I started to get the urge again, things just started to happen. You start to accumulate things, and you start placing them, and they become songs.”\n\nThe result is Cursum Perficio, Anthrax’s 12th album since forming in 1981. In part, the record documents the band’s trajectory from Queens, New York, metalheads to international superstars and members of thrash metal’s so-called Big Four, alongside Metallica, Slayer, and Megadeth. “There’s a lot of talk about this whole journey that we’ve been on for decades now,” he says of the lyrics he co-wrote with Anthrax guitarist Scott Ian.\n\n“Myself and Scott have been dealing with family loss, and stuff like that never leaves you,” he says. “We were talking about the past, and our kids, and I said, ‘Where did it all go?’ That line stayed with him, and he put it in ‘The Long Goodbye,’ which is about his dad and Alzheimer’s. It’s a pretty heavy song, and I know what it means to him. I relate to it. I think we all can relate to it because we’ve all dealt with loss.”\n\n“Everybody’s Got a Plan” opens with vocalist Joey Belladonna quoting former heavyweight champ Mike Tyson: “Everybody’s got a plan…until they get punched in the face.” “I remember when Tyson said that, and it resonated with us because there’s been so many times where people will say shit online to us—or anybody—and they say it because it’s online and they’re not interacting in person.”\n\n“NYC 93” takes the listener back three decades to the year Anthrax released Sound of White Noise, the band’s first record with Armored Saint’s John Bush on vocals. “It’s a moment in time in New York when things were crazy,” Benante says. “It was another chapter of Anthrax, and we were just living through it and enjoying it. We put the sound effects at the beginning and end of the song—ambulances, garbage trucks, fire engines—because that’s what New York sounds like.”\n\nThe album’s Latin title translates roughly to “the end of a journey.” Which begs the question: Is Cursum Perficio Anthrax’s last album? “I don’t think it’s the last one, but The Beatles made 12 albums, and this is our 12th,” Benante points out. “If we don’t make another record, I’m fine with that. But I can’t take this long again.”\n\nOur Favorite Track: Epic anthem “The Edge of Perfection” is one of the best songs Anthrax has released in the last 30 years. “I wanted to take the listener on a journey with that long intro before the vocals come in,” Benante explains. “And the emotion of the song really hit me and the other guys. It brought back some parts of older records, too. We knew it was something special.”"
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      "name": "Westside Whimsy",
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      "artist_name": "Jhené Aiko",
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      "record_label": "Def Jam Recordings",
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        "short": "The R&B singer celebrates SoCal living on her first album in six years.",
        "full": "“You guys, so much has happened in the last six years,” Jhené Aiko wrote on social media when she announced her first full-length since 2020’s Chilombo. An hour-long journey around the R&B singer-songwriter’s Southern California homeland—complete with guest appearances by locals like Kendrick Lamar and Ab-Soul—Westside Whimsy is full of luxuriant textures that update quiet storm for the bedroom-pop generation.\n\nAt times, those plush synths serve as a landing spot for anxieties: “I can’t escape the heartbreak,” she muses over fuzz-covered pianos and strings on “Break,” while “Don’t Be That Guy” pairs a striding beat with Aiko gently, kindly affirming her boundaries.\n\nAiko lets the sunshine in on cuts like “Beach Boy,” a gently swaying love song where her voice curls around her wonder at the “good vibrations” she’s feeling, and “So Good,” where she and Lamar steal admiring glances at each other over synths."
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      "name": "Angel",
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      "artist_name": "Lizzy McAlpine",
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        "short": "The singer-songwriter stuns with simplicity on album four.",
        "full": "Lizzy McAlpine has never needed a lot to stun listeners, as is apparent on “ceilings,” her breakthrough hit in which she paints a vivid portrait of new love with little more than an acoustic guitar and her hushed voice. She finds poetry in tangled sheets, romance in quiet drives home, and Angel, her fourth studio album, elevates her talent for finding inspiration—and metaphors that level you with their gravity—in the mundane and memorable details, conversations, and epiphanies of everyday life, even when they hurt.\n\nTake “Ugly things,” a list of the souvenirs—old photos in wallets, sweatshirts on a shelf—of an expired love, or “Peach,” which takes the simple act of slicing stone fruit and spins it into a rumination on independence and embracing solitude. She faces the less-glamorous realities that come with traveling the world for her art alongside Fleet Foxes’ Robin Pecknold on “Soldier of the road” and takes accountability in “Mason’s song,” an endearing apology set to her soft strumming (“I still have things to work on/That will never end/But I can’t do it alone”).\n\nLove—and its power to transform, even in absence or under duress—courses throughout Angel, from “The light in the painting” (“You are the light in the painting/That my eye is drawn to first”) to “I have a friend” (“My mouth is just a straight line/Without your lips to kiss it”) and “The crowd,” in which grief sits alongside her on the piano bench in a tearjerker of a letter to her late father.\n\nMcAlpine may have expanded her instrumental palette to include more robust arrangements, but Angel reveals, once again, that all she needs is her voice and a guitar, or a piano, to get to the heart of her truth."
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        "tagline": "New Album",
        "short": "Her fourth LP draws inspiration from Midwest emo and ’90s radio rock.",
        "full": "The self-taught singer-songwriter topped the UK albums chart with her third album, 2024’s This Is How Tomorrow Moves—a pared-down update of her hook-y blend of bedroom pop and alt-rock, co-produced by pop mystic Rick Rubin. Where that album centered around themes of growth and self-realization, its follow-up, Pylon, finds beabadoobee estranged on the open road, searching for connection.\n\nThe fourth album from the 26-year-old musician draws its inspiration from grunge, Midwest emo, and 1990s radio rock, as evidenced by its run of features: Paramore’s Hayley Williams guest stars on “Nothing to Prove,” Turnstile singer Brendan Yates makes a cameo on “Powerlines,” and The 1975’s Matty Healy and George Daniel contribute production work to “Write Me a Letter,” alongside contributions from Deftones’ Chino Moreno, Title Fight’s Shane Moran, and Pinegrove’s Evan Stephens Hall. Transmission towers and telephone wires exist as metaphysical forces of connection as beabadoobee cycles between loneliness and contentment."
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      "type": "album",
      "id": "6792883860",
      "name": "PRIMA",
      "link": "https://music.apple.com/us/album/prima/6792883860",
      "artist_name": "ADÉLA",
      "release_type": "album",
      "record_label": "Capitol Records",
      "copyright": "Capitol Records; ℗ 2026 UMG Recordings, Inc.",
      "upc": "00881061182924",
      "release_date": "2026-09-04",
      "track_count": 11,
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        "title": null,
        "tagline": "New Album",
        "short": "Pop-star ambition in its purest form: “This is my first step.”",
        "full": "Before emerging as a new pop girl with her fearless songwriting and magnetic stage presence, ADÉLA was first introduced to the world as a contestant on the Pop Star Academy: KATSEYE documentary series. But the Slovakia-born, Los Angeles-based singer has been putting in the work her entire life, performing professionally in ballet until she was a teen while, on the side, nurturing her dreams of music stardom—“I was, like, eight working the nightshift to learn English,” she flexes on celebratory single “KGB.”\n\nSo, it’s fitting that ADÉLA named her debut album PRIMA. “It stands for ‘first,’ but also because I’m a ballerina,” she tells Elton John on Apple Music’s Rocket Hour. “You know, the prima ballerina is kind of the best soloist in the company. So, hopefully, one day I’ll get to be a prima ballerina of pop music. This is my first step to do that.”\n\nJust as its name stems from ADÉLA’s youth, PRIMA is her interpretation of the music she loved as a preteen, filtered through the lens of a 22-year-old navigating today’s world in sky-high stilettos. “Every single day/I wake up, the world is my buffet,” she purrs atop the chipmunk-soul hip-hop of “Nicole Kidman,” while the clubby “Boys” channels Britney Spears’ sultry swagger, leaving a trail of aspiring suitors in its wake.\n\nADÉLA also sings about love for the first time, from baring insecurities (“Red Bottoms”) and withheld affection (“Hitachi”) to getting high on a new guy (“Marijuana”). “Therapy” is her most experimental song, a bare-bones stream-of-consciousness venting about what she left behind. But it’s immediately uplifted by “Ain’t in LA”—the spiritual younger sibling of Miley’s 2013 anthem “We Can’t Stop”—a reminder that talent, like her, can come from anyone, anywhere, with enough determination and a dream."
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      "name": "Don't Look Down",
      "link": "https://music.apple.com/us/album/dont-look-down/6781873059",
      "artist_name": "Rod Wave",
      "release_type": "album",
      "record_label": "Alamo",
      "copyright": "℗ 2026 Alamo Records, LLC/Sony Music Entertainment",
      "upc": "196874541357",
      "release_date": "2026-08-28",
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        "title": null,
        "tagline": "New Album",
        "short": "The Florida rapper/singer takes stock on his seventh LP: “We done healed.”",
        "full": "When he broke through in 2019 with his viral single “Heart on Ice,” Rod Wave shot to the forefront of the growing genre of “pain music”—intimate street rap ballads on the subject of inner demons. On albums like Ghetto Gospel, the Florida rapper/singer delivered stories about trauma and heartbreak in a voice with more range than most R&B singers. Seven years later, Rod marvels at how much has changed—including himself. “Ain’t gonna lie—sometimes I listen to [my old music] and be like, ‘Damn. I was a little dramatic,’” he tells Apple Music. “But I feel like that’s just a part of growing.”\n\nGrowth is the prevailing theme across the 24 tracks of his seventh album, Don’t Look Down. Where early hits found the rapper running from love, songs like “Piece of Your Love” and “Mainstay” showcase the 28-year-old at his most open-hearted. (Rod describes the latter as “my favorite song I ever did.”)\n\nPart of that perspective comes from being a father; his twin daughters were born in 2020. “Like, wow, I was a kid, and now I’m a parent,” he says of his evolution since first entering the spotlight, highlighting “Look at Me Momma” as a monument to that maturity. “Finally, I’m a grown man. Even though I was grown at 21, I wasn’t really grown. My frontal lobe hadn’t developed. We done healed.”\n\nDon’t Look Down abounds with expensive-sounding samples and slick interpolations, from the dreamy Selena flip on “One More Time” to the pair of Kanye West “Last Call” interpolations that bookend the album. But the soulful vulnerability is entirely Rod’s own—a testament to his journey of self-improvement.\n\n“That’s just the way I live life,” he explains. “How can I be a better son, a better friend, a better CEO, a better husband, a better dad, a better artist? How can I be better for my fans? How can I take what I already got and make it the best that it is?”"
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      "id": "1889992111",
      "name": "you seem pretty sad for a girl so in love",
      "link": "https://music.apple.com/us/album/you-seem-pretty-sad-for-a-girl-so-in-love/1889992111",
      "artist_name": "Olivia Rodrigo",
      "release_type": "album",
      "record_label": "Olivia Rodrigo PS",
      "copyright": "℗ 2026 Olivia Rodrigo, under exclusive license to Geffen Records",
      "upc": "00199957777902",
      "release_date": "2026-06-12",
      "track_count": 14,
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "A pop savant raises her game and her standards on her third album.",
        "full": "A pop savant raises her game and her standards on her third album.\n\nOlivia Rodrigo has loved and lost many times since she cried through the suburbs as the heartbroken teenager in “drivers license.” She’s grown up, and her standards have gotten higher—for a good love song, but also for what makes a good relationship. \n\nWith her third album, you seem pretty sad for a girl so in love, Rodrigo is eager to share what she’s learned. “I found a lot of interesting pieces of myself in this album,” she tells Apple Music. “I just wanted to perfect a sad love song. All of my favorite love songs are so beautiful because there’s an element of yearning or melancholy or fear.”\n\nShe’s not the first woman to fall in love while waiting in the bathroom line at the bar, as she does in “drop dead,” but you’d be hard-pressed to find someone who can voice that specific, oh-so-familiar scene so vividly. \n\nShe sings of hoping to impress a boy’s sister on “u + me = ᐸ3” (“I try to win her over with my cynical humor and yacht rock music taste”); she captures that moment when a love develops from new butterflies into something deeper with “purple” (“I used to visit your town like a tourist/Now I’ve got a local grocery store and a favorite florist”).\n\nIt’s not all googly eyes, though: “expectations” taps into the mortification that sets in when the party goggles wear off and a dude goes from cute to cringe real fast (“I think he was on drugs/He wasn’t smart or funny/I convinced myself he was... And now his number’s blocked”), and she invokes the pop-punk snarl of Avril Lavigne and Paramore for “my way.”\n\nAnd even if she has fun between the ballads, the sadder, sparser songs lay out—again, in characteristically vivid detail—how Rodrigo believes the mistakes we make in the name of love are painful but effective teachers. \n\n“cigarette smoke” delivers one of Rodrigo’s strongest vocal performances, as well as a one-liner you wish you thought of in that final text to an ex (“I thought that we played the perfect couple/Until you didn’t want the part”). “less,” which brings her back to the piano by herself, teaches her that love isn’t all you need to make a relationship work: “If loving me means letting go and wishing me the best/Then I guess I wish, I wish, I wish you loved me less.” \n\nAlso effective teachers are the rock stars who came before her: “the cure,” a meditation on the baggage that sinks relationships, boasts a guitar riff that, let’s say, pays homage to “Everlong” as well as Mellon Collie and the Infinite Sadness-worthy strings, while the longing “what’s wrong with me” goes straight to the source by bringing Robert Smith of The Cure (the band, not the Olivia Rodrigo song) in for a duet.\n\nMaybe you seem pretty sad for a girl so in love is a collection of love notes, but not the kind you send: This is further proof of Rodrigo’s great capacity for feeling, and feeling it all—the brutal lows, sure, but also the bottomless hope that sparks with a look from a stranger in a crowded bar that could potentially change your life."
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    {
      "type": "album",
      "id": "6796864741",
      "name": "NO ME ARREPIENTO DE SENTIR TANTO",
      "link": "https://music.apple.com/us/album/no-me-arrepiento-de-sentir-tanto/6796864741",
      "artist_name": "KAROL G",
      "release_type": "album",
      "record_label": "Bichota/Interscope Records",
      "copyright": "℗ 2026 Bichota Records LLC, under exclusive license to Interscope Records",
      "upc": "00881061378884",
      "release_date": "2026-08-07",
      "track_count": 14,
      "genres": [
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        "tagline": "New Album",
        "short": "The BICHOTA enters her MATADORA era.",
        "full": "Over the course of a decade, KAROL G went from standout reggaetonera to global pop megastar. It’s the sort of ascent that so rarely happens in Latin music, where acts tend to experience genre hitmaking as a ceiling rather than a springboard to even bigger musical success and fame. Yet as the Colombian artist’s fans now intimately know, no single style could possibly have contained her.\n\nArriving a little over a year after the ambitious Tropicoqueta added even more depth and diversity to her discography, NO ME ARREPIENTO DE SENTIR TANTO finds KAROL evolving her self-described bichota brand to grapple with a breakup. But the reason why songs like “MATADORA” and “Bebiendo Lagrimas” succeed is that they primarily center her instead of the unnamed him.\n\nOpener “Te llevas To” dismisses this undeserving lover in a barrage of insults and vulnerable admissions, while the somber finale, “Eclipse,” finds her intentionally alone and protecting her peace. (The latter’s sentiments understandably echo on balladic bonus track “Después de ti.”)\n\nSuch reluctance to open herself up to a potential new love becomes clearer on one of the album’s high-profile moments, as she trades hesitant remarks with Drake on the pulsating, Afrobeats-informed “Ahí.” The internalized tumult within transcends language, as demonstrated by the English-language Bruno Mars collab “Still.”\n\nWhile, unlike on Tropicoqueta, genre experimentation takes a backseat to personal expression here, KAROL ensures that NO ME ARREPIENTO DE SENTIR TANTO includes a few opportunities to create beyond the comfort zone provided by her exceedingly talented go-to producer Ovy On the Drums. “Alguien que te amaba” invokes tejano form the way Selena once did, while the dancehall derivations of “BbY WOW” with Judeline and rusowsky add a tropical thump to her wider narrative. Still, there’s perhaps nothing quite so gratifying amid all these big feelings as when she settles back into a reggaetón pocket for “Con quien andará.”"
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      "type": "album",
      "id": "1895420989",
      "name": "petal",
      "link": "https://music.apple.com/us/album/petal/1895420989",
      "artist_name": "Ariana Grande",
      "release_type": "album",
      "record_label": "Republic Records",
      "copyright": "A Republic Records Release; ℗ 2026 Babydoll Music, under exclusive license to Republic Records, a division of UMG Recordings, Inc.",
      "upc": "00199957944571",
      "release_date": "2026-07-31",
      "track_count": 13,
      "genres": [
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        "Music"
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "The pop icon brings all the elements of her formidable artistry into balance.",
        "full": "When Ariana Grande released her previous studio album—eternal sunshine in 2024—the multitalented superstar was deep into the “Glinda-era” that consumed her glossy pop icon persona so wholly, the fact she was working on music at all during that time period came as something of a surprise. With Grande sporting a golden blonde ponytail and her voice lingering mainly in the upper reaches of her already flexible range to protect her vocal health, the two projects—eternal sunshine and Wicked—seemingly synthesized, capturing Grande as she absorbed new elements into her artistry, like a chameleon blooming into color.\n\npetal, however, arrives outside of the bubble that contained the Wicked franchise and its ubiquitous presence in pop culture, making Grande (signature brunette now restored) feel immediately more present and familiar as she continues to wrestle with her experiences in the public eye. There are shades from every one of her sonic palettes here. “never get over me” borrows its strutting confidence from Dangerous Woman, while “big feelings” (effortless wordplay with a coy wink on the side) demonstrates her ability to be both fun and funny, in the vein of tracks like “Side to Side.” Album closer “nowhere, nobody,” with its self-soothing lyrics and stacked vocal design, wouldn’t sound too out of place on Sweetener. It’s self-referential in that her inspirations—childhood favorites including Mariah Carey and Imogen Heap—are as much a part of her musical fingerprint as her own innate expressions that they show up repeatedly across her body of work. “I love a lot of different things,” Grande tells Apple Music. “I’ve always just been a strange little sponge for different sounds and I’ve always really stuck to what I like. I don’t really like listening to new things.”\n\neternal sunshine found Grande still attempting to reason gently about her relationship with, perhaps, a lover. (Or was it her relationship to fame? Her fans? The media? Her own sense of self?) However, petal—also co-produced by Max Martin-protégé ILYA—strips out the warm tones of its predecessor, striking a camp, horror note that ties the prevailing themes together. From the title track’s slow, oppressive waltz with the pain she feels obliged to perform for public consumption and the plinky, discordant synth stabs of “like i do,” the songs sound less like fairy tales here and more like cautionary ones—maybe even the kind of “warning signs” she references in the telling interlude of that name. “I wrote from a place that I don’t usually, which was like an unfiltered rage that I think we all feel sometimes,” she says. “I usually am too shy to tap into that, and I think this time I kind of just didn’t filter as much as I usually do.”\n\nStill, the levity that often appears to be the source of Grande’s resilience in the face of public scrutiny remains. “I’m making friends with my consequence,” she sings on “like i do,” converting parasocial engagement into dollar amounts and later teasing “you hate to love me…” Sure. But for the record: she hates to love you too."
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    {
      "type": "album",
      "id": "6773775032",
      "name": "Oh yeah?",
      "link": "https://music.apple.com/us/album/oh-yeah/6773775032",
      "artist_name": "Steve Lacy",
      "release_type": "album",
      "record_label": "L-M Records/RCA Records",
      "copyright": "℗ 2026 RCA Records, under exclusive license from L-M Records",
      "upc": "196874346976",
      "release_date": "2026-07-17",
      "track_count": 10,
      "genres": [
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        "Music",
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "A guitar god melts disparate genres into a unified expression of desire.",
        "full": "A new-age guitar god melts disparate genres into a unified expression of desire.\n\nWhen we last heard from Steve Lacy, he was busy releasing his 2022 sophomore album, Gemini Rights—a refined but groovy collage of rock, funk, and R&B led by “Bad Habit,” a runaway hit that topped five of Billboard’s genre charts at once. Lacy had already established himself as a quiet creative force, having produced songs for Solange and Kendrick Lamar from his bedroom and earning his first Grammy nomination at age 17 for his role as guitarist on The Internet’s Ego Death. But it was Gemini Rights that introduced Lacy as a bona fide solo talent—a new-age guitar god, at once an old soul and a voice of his generation.\n\nTrue to form, Lacy kept private in the years since that album, reemerging in August 2025 with a new single, “Nice Shoes,” and a seductively vague title for his third album: Oh yeah? Like its predecessor, the collection’s concise 10 tracks belie how expansive its ideas can be, melting its disparate genres into a unified expression of desire. Lacy explores his signature themes of lust and longing from all angles—alternately wistful and jaded and carnal, blurring the lines between lover and friend.\n\nTrue to life, confusion abounds: Over the grungy nihilism of “doom,” he laments a social landscape where people chase validation rather than connection, while the SZA duet “is it cool?” has the singer tiring of vulnerability and wishing he could just get naked.\n\nLacy’s exploration of what it means to connect in 2026 is full of pleasant surprises, from the two minutes of jungle breaks that conclude the two-part expansion of “nice shoes / in your world” to the most unique pronunciation of the word “edible” you’ll hear on “bebe.”"
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    {
      "type": "album",
      "id": "1895159736",
      "name": "Dandelion",
      "link": "https://music.apple.com/us/album/dandelion/1895159736",
      "artist_name": "Ella Langley",
      "release_type": "album",
      "record_label": "SAWGOD/Columbia",
      "copyright": "℗ 2026 SAWGOD Records/Columbia",
      "upc": "196874332917",
      "release_date": "2026-04-10",
      "track_count": 19,
      "genres": [
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        "Music"
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "A monolithic country-pop album in an easy, understated disguise.",
        "full": "“I’m in the back half of my twenties and still figuring it out, but I feel like I do it with a little more confidence,” Ella Langley tells Apple Music. “That’s why a lot of these songs represent that. They represent that feeling of, like, you know, you’re still figuring it out, but you’re trying to do it a little bit better each time.”\n\nArriving in the midst of Langley’s historic 2026 run atop Billboard’s Hot 100, Dandelion is a monolithic country-pop album in an easy, understated disguise. Across 18 polished tracks, the Alabama native channels the hazy, reflective side of a neon-lit barroom on her sophomore album, inching towards a broader pop audience the whole time. The disco ball is definitely still turned on, but melancholy and longing pervade, whether in the danceable heartbreak tune “Choosin’ Texas,” about watching someone walk away, or “Somethin’ Simple,” a groovy song about wishing you were settled down even in the midst of a meteoric rise. \n\nFor the album, the singer-songwriter tapped some of Nashville’s most beloved studio talents, including guitarist Charlie Worsham, bassist Rachel Loy, and pedal steel player Spencer Cullum, whose romantic licks drive home the release’s deep twang from front to back. Langley herself produced the album alongside Nashville veterans Ben West and Miranda Lambert—yes, the star took a background role (except on the duet “Butterfly Season”). Together, they crafted a slick, shimmering, yet still familiar and well-worn old-school sound, where all that pedal steel meets lush string sections to soundtrack the smoother side of boot-scootin’.\n\nThe release, almost entirely co-written by Langley, is book-ended by Langley singing the classic folk song “Froggy Went A Courtin’,” solo and acoustic—a nod to the fact that it was one of the first songs she ever learned how to play. With her version of Kitty Wells’ “It Wasn’t God Who Made Honky Tonk Angels,” Langley’s arc is etched into the record: from singing the first song she learned to singing the first No. 1 country song by a woman artist as the performer of the longest-running country No. 1 ever by a woman artist. Rock solid, effortlessly country and cleverly poppy, Dandelion is a victory lap for an artist who makes defying country music’s long-standing gender inequity sound easy."
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      "name": "Visitor (Deluxe)",
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      "artist_name": "SIENNA SPIRO",
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        "short": "The singer on her debut: “It’s about knowing how fragile relationships are.”",
        "full": "Raw yet timeless songwriting, a voice that recalls Adele, and precocious wisdom power the London singer-songwriter’s debut album.\n\n“This whole album is about my fear of impermanence and the feeling of being temporary,” SIENNA SPIRO tells Apple Music. “I wanted a 10-track album, and I wanted each song to explore a new part of the experience of a visitor, and what that feels like.” \n\nAcross Visitor, then, SPIRO examines being a guest in someone else’s life (the feeling of just-out-of-reach love powers plenty of the songs here), being disconnected from who you are (“Pure”), an age-gap relationship (“He’s Not My Baby, I’m His”), and, finally, acceptance that things can be beautiful, even if they do end (the jazzy “Mono No Aware”). The album, she adds, is about “knowing how fragile relationships are and knowing how fragile your identity is to people.” \n\nVisitor arrives in the wake of her 2025 breakout song “Die on This Hill” and its 2026 follow-up “The Visitor,” plus support slots with Sam Smith and Teddy Swims, and a song on The Devil Wears Prada 2 soundtrack (that track, “Material Lover,” is on this deluxe edition, which also features two reworks, her take on the jazz standard “Autumn Leaves,” and 2024’s “MAYBE.”). It’s an album of sculptural, classic-feeling songs powered by her smoky, statuesque vocals, songwriting that feels like it comes direct from a cracked-open heart, and melodies that deliver a tonne of emotional impact. \n\n“When I was younger, I had this innate sadness that I really didn’t understand,” says SPIRO. “I used songwriting as a way to release what I was feeling. And I think melody is a very underrated aspect of songwriting because it’s not words and it’s not things that you can express. The way singing feels is very cathartic; it is very therapeutic.” Read on as SPIRO talks us through some standout tracks on her debut album. \n\n“Great Expectation”\n“I was living in New York for a month and a bit, opening for Sam [Smith] in October [2025], and I was talking to this guy who was a lot older than me—he was not a very nice guy, it turns out. And he was telling me, ‘I’m going to come visit you. It’s going to be great.’ And if someone gives me an inch, I’ll turn it into a mile. I was very infatuated by him. I would walk down the stairs of the apartment and imagine he was outside, and then for five minutes down the road, every single morning, I’d play out exactly what I thought would happen if he was there. It was so weird and delusional, and I came back into myself and thought, ‘I feel a bit weird. Why did I just do that?’ It’s about this story, but it’s very much applicable to the world and the way we hope the people that we put in power—in our heads, or in power in the world—will do some good. And they don’t.”\n\n“Die on This Hill”\n“The song is about passion and care and being stubborn and showing up for people—it’s not necessarily just romantic love. I’ve seen people relate to it about an absent parent or friendship. ‘Die on this hill’ is a phrase people say that I’ve heard throughout my life. It’s always something I wanted to write. I was trying to play ‘Bohemian Rhapsody’ and couldn’t do it and I did this. So it was a mistake that turned into something quite nice. It was a really important song for me to write—I’ve been made to feel quite small and bad for being very loud and stubborn and sticking around for the things I believe in.”\n\n“The Visitor”\n“I applied the term ‘the visitor’ to myself and really related to it. I knew I was making a project called Visitor, and I knew there needed to be a song called ‘The Visitor’ on it. And then I did this nine times and tried to get it right. It took me ages because I didn’t want to miss out any part of it. It’s kind of what people call their thesis. It explains my experience of what being a visitor feels like: you know you’re temporary. It’s a horrible feeling.” \n\n“Mono No Aware”\n“I think this is the best song I’ve ever made. Musically, it’s my first true, straight jazz song. I grew up singing jazz and listening to jazz, and I think it’s really hard to make a classic jazz song without doing something that hasn’t been done before. ‘Mono no aware’ is a Japanese phrase that means the gentle sadness of knowing everything beautiful is temporary, and we should love it more because it won’t last. Growing up, I was scared of entering things that I knew would end and which I would have to try and keep going—so I just stopped. When I found this phrase, it allowed me to look at things differently, let things be as they are and allow experiences to matter without trying to make them permanent. I’m grateful to have this song and grateful to have been able to write it.”"
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