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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",
      "copyright": "℗ 2026 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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      "name": "Popstar",
      "link": "https://music.apple.com/us/album/popstar/6789739137",
      "artist_name": "Tinashe",
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      "record_label": "Nice Life/Atlantic",
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      "release_date": "2026-09-25",
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        "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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      "name": "Silver Sands Marina",
      "link": "https://music.apple.com/us/album/silver-sands-marina/6778607425",
      "artist_name": "Kenny Chesney",
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      "record_label": "HEY NOW Records",
      "copyright": "℗ 2026 HEY NOW Records, distributed by Warner Records Inc.",
      "upc": "093624817796",
      "release_date": "2026-09-25",
      "track_count": 11,
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        "short": "Country music’s beach-bar bard sounds re-energized on his 21st album.",
        "full": "On his 21st album, Kenny Chesney sounds newly energized, his sturdy croon nestling into stories about love, loss, and letting loose. “Carry On” feels like a future staple for Chesney’s marathon concerts, its story of a raucous bar’s fascinating mainstay feeling in line with story songs like “Boston.” “Burn My Boat” hints that Chesney might be willing to give up the high seas if the right person enters his life.\n\n“Talkin’ Dirt” is a honky-tonk-ready stomp that takes on small-town gossip while subtly nodding at his own time spent under fame’s microscope, while the swaying ballad “Sad Casino” shows how a slot machine’s flashing lights can illuminate post-breakup despair. Duets with newly minted superstar Megan Moroney, upstart singer-songwriter Lily Meola, and pop-folkie Colbie Caillat add to the album’s expansive feel, their voices braiding with Chesney’s resonant instrument as he muses on romance."
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      "name": "Happiness Anytime",
      "link": "https://music.apple.com/us/album/happiness-anytime/6789289866",
      "artist_name": "Leon Bridges",
      "release_type": "album",
      "record_label": "Columbia",
      "copyright": "℗ 2026 Columbia Records, a Division of Sony Music Entertainment, under exclusive license from LisaSawyer63, Inc.",
      "upc": "196874421079",
      "release_date": "2026-09-25",
      "track_count": 12,
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        "tagline": "New Album",
        "short": "Leon Bridges wants to “get people moving again” with album five.",
        "full": "If Leon Bridges had to sum up Happiness Anytime with one word, he knows exactly what it would be. “This album is very vibrant,” he tells Apple Music. “My last album, Leon, was a window into my heart. It was very poignant, very slow, and I was like, ‘Yeah, it’s time to get the people moving again.’”\n\nThanks to Bridges’ fondness for Afrobeats, Brazilian rhythms, and his long-proven penchant for soul and R&B, Happiness Anytime wastes no time in achieving his goal. Opener “Light the Way” leads with an undulating groove that’s both an invitation and mission statement: Yes, the warm brass, intricate guitar work, and Bridges’ velvet voice all sound fantastic, but the point is the beat and losing yourself in it between taps on the cymbals.\n\nThe lyrics of “Talk It Over” may vent over a frustrating relationship, but it’s impossible to hear its bassline without shaking your hips or, at the very least, tapping your toe in 4/4 time. “All Day, All Night,” featuring Lydia Kitto of dance-pop trio Jungle, is languid and libidinous, the perfect fit for a late-night tryst in a bar in Bahia—and it isn’t the only track on the album that features Kitto or her bandmates.\n\n“The whole goal with this project was to make some upbeat music,” says Bridges. “When I sit down with the guitar, that’s kind of challenging for me. I crossed paths with Jungle in Copenhagen and, man, it was just like a no-brainer to get with them and make this music. The process was genuinely one of the easiest experiences.”\n\n“Happiness Anytime,” the result of this Copenhagen hang, perfectly encompasses the album on the whole “because it’s a reflection of the space that I was in,” Bridges shares. “I feel like happiness is such an up-and-down journey. I’m kind of encouraging people, encouraging myself, to choose joy, no matter what’s going on around you.”"
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      "name": "I'm So Happy",
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      "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",
      "track_count": 23,
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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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      "name": "Unshatter Film Soundtrack (Live in São Paulo)",
      "link": "https://music.apple.com/us/album/unshatter-film-soundtrack-live-in-s%C3%A3o-paulo/6794460856",
      "artist_name": "LINKIN PARK",
      "release_type": "album",
      "record_label": "Warner Records",
      "copyright": "℗ 2026 Linkin Park, LLC under exclusive license to Warner Records Inc.",
      "upc": "093624821380",
      "release_date": "2026-09-25",
      "track_count": 20,
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        "short": "A live recording from the band’s 2024 From Zero World Tour in Brazil.",
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      "name": "Heartland Rock and Roll",
      "link": "https://music.apple.com/us/album/heartland-rock-and-roll/6770690867",
      "artist_name": "Corey Kent",
      "release_type": "album",
      "record_label": "Sony Music Nashville",
      "copyright": "℗ 2026 Sony Music Entertainment. All rights reserved.",
      "upc": "196874371268",
      "release_date": "2026-09-25",
      "track_count": 15,
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        "tagline": "New Album and Interview",
        "short": "The Oklahoma star revels in no longer having to prove himself.",
        "full": "Corey Kent struck gold with his 2022 single “Wild as Her.” He’s been working more or less nonstop since, dropping his 2023 breakout Blacktop, Black Bandana in 2024, and hitting the road with Jason Aldean and Parker McCollum. To make Heartland Rock and Roll, though, Kent tells Apple Music he needed to pump the brakes.\n\n“We kind of slowed down,” he says. “We had a lot of moments where we went out to the ranch in Texas and wrote and just spent a week out there sitting around fires and talking about life, and then songs would flow out of that. It’s taken a bit longer to come out with this record, but I think it’s the best record I’ve ever created.”\n\nThe resulting album feels like a level-up for Kent, who sounds confident, present, and at ease on these 16 new songs. Produced largely by Austin Goodloe (with an assist from Jon Randall and Chris Farren), the collection lives up to its title, showcasing a decidedly red-meat brand of country and infusing it with rock, soul, and pop.\n\nOpening track “Motorbike” makes that case from the jump, nodding to reigning kings of heartland rock Bruce Springsteen and Tom Petty in its no-frills melodicism and in winking lyrics like, “Wasn’t born to run/Never learned to fly.” The reflective ballad “Cherokee Blvd” lets Kent indulge his softer side, while songs like “Jesus Comes Back” show he can command an arena anthem. He brings some heavy hitters on board as guests, too, as Jason Aldean joins on the Southern rocker “Rather Be Here” and Koe Wetzel lends his singular voice to the brooding single “Rocky Mountain Low.”\n\nThe album’s most ambitious track is the nearly seven-minute “Bixby.” Named for his Oklahoma hometown, the song is nostalgic and connects Kent to an earlier version of himself that could only dream of how far he’s come.\n\n“The first two records felt like I was trying to prove myself to people, to plant my flag,” he says. “This is just different. I’m not trying to prove to you that I’m different; it just is. It’s almost like this freedom of creating from a place where you have nothing to prove, and that’s fun.”"
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      "type": "album",
      "id": "6799213591",
      "name": "Returning To Myself (Sad Gay Version)",
      "link": "https://music.apple.com/us/album/returning-to-myself-sad-gay-version/6799213591",
      "artist_name": "Brandi Carlile",
      "release_type": "album",
      "record_label": "Interscope Records / Lost Highway",
      "copyright": "℗ 2026 Brandi Carlile Band, LLC, under exclusive license to Interscope Records / Lost Highway",
      "upc": "00881061314240",
      "release_date": "2026-09-25",
      "track_count": 21,
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        "tagline": "Deluxe Edition",
        "short": "A stripped-down rendition of her 2025 album, plus a Billy Joel cover.",
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      "name": "Stray Dogs",
      "link": "https://music.apple.com/us/album/stray-dogs/6772182868",
      "artist_name": "Nothing But Thieves",
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        "tagline": "New Album and Interview",
        "short": "“We wanted to feel raw, more chaotic”: NBT find new inspiration on stage.",
        "full": "Since emerging in the mid-2010s, rock explorers Nothing But Thieves have had a healthy appetite for adventure. Each album has been a reaction to, not a retread of, the last, with the Essex five-piece consistently pursuing new ideas and instincts. So after 2023’s Dead Club City, a concept album about a city-sized private members’ club, the question was: Where will their imaginations drag them next? On this follow-up, their fifth album, the answer is actually a little closer to home—away from dystopian watering holes and back to earthly stages. “The philosophy was to feel a bit raw, a bit more chaotic and really try to capture how we sound live,” guitarist Joe Langridge-Brown tells Apple Music. “I don’t think we’ve ever done that. So that was a different challenge.”\n\nIf that meant leaning more on a fundamental guitar-bass-drums setup after the futuristic synth crusades of Dead Club City, this is still an album that stretches and reshapes NBT. It may reference the music that inspired them growing up in the ’90s but they were adamant that it should sound like it belongs to 2026. On a record deliberately structured like a set list, where accidents and mistakes are embraced and crowd noise and jams birthed on the road become part of the music, they also manage to create a cohesive song by cross-pollinating garage rock, soul, blues, and dream pop (“Baby Kool (Evelyn)”) and craft a track with the personality of “a depressed Buddy Holly” (“Death in the Backseat”).\n\n“It’s still a lot of experimentation,” says singer/guitarist Conor Mason. “There’s a lot of throwing paint on the wall and seeing what sticks.” Read on as Mason, Langridge-Brown, and guitarist/keyboardist/producer Dominic Craik talk us through Stray Dogs, track by track.\n\n“Stray Dogs”\nJoe Langridge-Brown: “On this song, and a couple of others, there’s a lot of reference to our lives and place names and travel and our fans and our crew and our people. The last two albums, Moral Panic and Dead Club City, were very outward looking. So this one was meant to be much more about our world. We found it interesting how a lot of our fans have found each other and grown up together. It mirrors the band, in a way. A lot of times on this record, we’re actually breaking the fourth wall. A lot of my favorite artists do it…Alex Turner, Nick Cave…Bowie used to do it. Some people can take you out the world, but if you do it right, it can bring you closer to what’s actually being spoken about.”\n\n“Testosterone”\nDominic Craik: “It felt like there were no boundaries to how we were writing. The riff kind of fell out and had this dreariness and drunkness to it that married quite nicely with some of the lyrics. Conor’s voice is used in a new way as well, which excited us because it’s such a gift. He can do so many different types of vocals that it’s, ‘Which one do you pick?’ like a kid in a candy store. We’re always trying to find the best character for the tune.”\n\n“Evolution”\nJL-B: “[It only] took about a day [to write]. Apart from the middle eight, and that wasn’t because it took us ages, we just couldn’t be arsed.”\nDC: “It did change a little bit going into the studio again. We didn’t want it to sound too similar to what we’ve done. You obviously want to put a new spin on it. So it was working out how to walk that tightrope without going too far and you’re like, ‘Hold on, it’s just lost the essence of what it once was.’”\n\n“Death in the Backseat”\nConor Mason: “It almost felt like a character, this one. It’s got this 1950s doo-wop feel to it, like a depressed Buddy Holly.”\nJL-B: “We’d figured out what the record sounded like, and maybe what the singles were going to be, and we were chasing something that shook it up and felt out of our world a little. Conor’s delivery is a huge part of the arrangement.”\nDC: “It has a California cruising, surfer-y rock thing, which we hadn’t really experimented with before. As it was quite late in the recording process, it meant that we could keep it tempered. Sometimes, when you’re writing songs, you’re like, ‘Right, it needs to get bigger because that’s more exciting.’ Whereas, here, we were like, ‘This one can cruise.’”\n\n“#5”\nJL-B: “You have to put it as track number five on the record, otherwise we’ll be getting letters every day. But it’s actually a reference to this being the fifth album and feeling like, ‘I can’t believe that I’ve realized this about myself, or about us, after five albums and 14 years or whatever it’s been.’ Even something that’s completely mundane. Self-discovery is something a lot of people can relate to, especially when it’s something obvious. I think that happens quite a lot as you get older.”\n\n“If You Don’t Have Someone to Love”\nDC: “It’s not your standard verse, pre-chorus, chorus. It’s got a pretty interesting flow to it. We wanted to use different textural elements at this point. It can be an intense listen and you do want to offer respite. After a while of just writing songs with guitars, bass, and drums, you’re looking for that extra dimension to pull in. Introducing the strings added a whole new element. It’s also got a cool outro. We were looking at different ways to end the songs that weren’t like feedback or a manipulated crowd noise or a hard cut. The song feels like a bit of a journey, and rather than the car coming to a hard stop, it slows you down gradually.”\nJL-B: “It’s a nice way to end side one of the vinyl. I think we’re talking about things that are tactile and [of a] non-digital world in a lot these songs, and that was a nice consideration.”\n\n“(Archive 76)”\nDC: “We spent a whole morning cutting up moments from live sets of our crowd, talking amongst themselves, cheering, Conor saying stuff. And then we plumbed it my modular gear, messing with it for hours. You sometimes only get about 10 seconds of usable stuff, a couple of bits that are like, ‘Actually, there’s something really nice about that.’”\nJL-B: “I don’t actually know what show we ended up using [for this], but across the record there’s a few different shows. Are you saying, ‘This one’s a karaoke number’?”\nCM: “Yeah, I was taking the piss out of [September 2020 single] ‘Impossible.’ It was in Stockholm. I remember saying it at that gig and laughing to myself because I’m not that funny normally.”\n\n“Baby Kool (Evelyn)”\nCM: “There’s a real release of freedom. It’s back to four chords and noise and as distorted as you can get.”\nJL-B: “I was listening to a lot of Cocteau Twins but it’s quite a soul melody, under this garage rock, Sonic Youth kind of thing. That mesh of worlds. A lot of the time, that’s where the magic is.”\nDC: “Obviously, Cocteau Twins had this dreamlike nature to them. It was such a great place to go to temporarily to then pull the rug out from underneath your feet and get into this very driven, very focused, slightly gnarly instrumental that follows the chorus.”\nCM: “This is where we’re at our strongest, when we somehow manage to fumble together three different genres in one song. Most people would call it a headache but we call it a semi smash hit.”\n\n“AI.Jesus”\nJL-B: “These songs where it’s a bit tongue-in-cheek or snide are the most fun to write. But this had 19 demo versions I think. It had three completely different choruses, and the chorus that survived was rewritten 10 times. You know something is good and you can’t leave it because you’re so close, but you’re not quite nailing it.”\nDC: “Every time we stepped into the writing room together, it was like someone telling you that you’ve got to change the oil in the car—something you don’t really want to do, but you know it’s got to be done. When you get to the studio to record it, you forget a lot of that. But it’s marginally traumatic talking about it now.”\nCM: “If you’re not careful, you can make melodies and decisions that turn it into a genre it doesn’t want to be. That’s why it took so many different versions and delicate scissoring throughout, so it still felt quirky but rocky.”\nJL-B: “On songs like this and ‘Testosterone’ and ‘American Confidence,’ having a character or saying something that isn’t your usual thing makes a huge difference. [Otherwise] it can easily turn into something that is a bit clichéd or too macho.”\n\n“I Needed You Then, I Need You Now”\nCM: “I wanted to have something quite flowy and heartfelt and ’90s. It’s listening to Alanis Morissette, Cocteau Twins, that sort of thing. The first version was completely different. It had some merit, but it didn’t feel like it stood up as a track. Joe was like, ‘We’ve got a lot of things going on in this record. There’s a lot of noise, there’s a lot of big space, but there’s no candlelit small space.’ So we stripped everything off it so it could focus on the lyric, the melody, and my voice. The manipulation of my vocals makes it so much more interesting. There’s something about the fact that I almost can’t recognize my voice until halfway through. Then the lyric opens up, the clarity opens up, and you really feel it.”\n\n“American Confidence”\nJL-B: “If you got the intro of that song wrong—or right to some people—it would sound like Limp Bizkit. It’s kind of bro-y, American sounding, which is the point of the song. But it’s also got this Jeff Buckley-like delicateness to the vocals. It was an excuse to get out my notepad and see some of these characters that I’ve written about over the years. The first verse is about this music executive. It reminded me of the Pink Floyd ‘Have a Cigar’ guy, that’s why there’s a reference to that. The second verse is more like a televangelist I saw an interview with. He’d got a private plane and wouldn’t fly with what he called the ‘demons’ on a commercial flight. It’s about the over-commercialization of everything that America sums up. Fun to write, but it’s going to be interesting playing this song in America.”\n\n“A Different Kind of Happiness”\nCM: “It’s one of the strongest things we’ve ever written. Which is nice to say after five records. You’re like, ‘It’s a great song, should we have it earlier in the album?’ But because we were trying to make this track list like a set, it made so much sense. It’s like how we would end a live set. It gave it its own moment putting it right at the end.”\nJL-B: “I like that we ended with this still. You get quite a lot of advice from non-musicians in our line of work, like, ‘Oh, you can’t do that, it might not stream as well…’ but we’re still creating our art at the end of the day, and some things are just more important than that.”"
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      "type": "album",
      "id": "6792119956",
      "name": "Leave On A Light",
      "link": "https://music.apple.com/us/album/leave-on-a-light/6792119956",
      "artist_name": "Max McNown",
      "release_type": "album",
      "record_label": "Fugitive Recordings",
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      "upc": "850077888335",
      "release_date": "2026-09-25",
      "track_count": 17,
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        "title": null,
        "tagline": "New Album",
        "short": "The singer-songwriter’s third album is his most poised.",
        "full": "On “Slow Down, Slow Down” the opening track of this third full-length album from Max McNown, the acclaimed singer-songwriter implores himself to slow down. He’s singing about savoring a romantic relationship on that Emily Weisband (Maren Morris, Keith Urban) co-write, but the bit of advice could just as easily apply to his career trajectory—after all, McNown only learned to play the guitar in 2022.\n\nProduced by close collaborator Jamie Kenney (Blessing Offor, Colbie Caillat), Leave on a Light is McNown’s most poised record yet. At 17 tracks, it doesn’t sprawl quite as far as its predecessor, 2025’s Night Diving. But it feels more spacious yet, thanks in large part to McNown’s growth as a songwriter.\n\nHe’s in a reflective and grateful place across much of the LP, like on standout “First Born Daughter,” a tender, groovy tribute to his wife, who he sings is “type A to a T.” “Famous to You” prioritizes real-life closeness over widespread notoriety, with Nashville favorite Charlie Worsham adding mandolin and acoustic guitar.\n\nOur Favorite Lyric: Closing ballad “The Room” boasts the fantastic opening couplet “Standing in the shade of a childhood tree/I’d be up in those branches but they won’t hold me.”"
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      "id": "6794076873",
      "name": "AUDACITY",
      "link": "https://music.apple.com/us/album/audacity/6794076873",
      "artist_name": "Jae Stephens",
      "release_type": "album",
      "record_label": "Raedio PS/ Def Jam",
      "copyright": "℗ 2026 Raedio LLC, under an exclusive license to Def Jam Recordings, a division of UMG Recordings, Inc.",
      "upc": "00881061210405",
      "release_date": "2026-09-25",
      "track_count": 11,
      "genres": [
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        "title": null,
        "tagline": "New Album",
        "short": "The singer-songwriter steps fully into her power on her debut LP.",
        "full": "“From the moment I started singing,” Jae Stephens tells Apple Music’s Zane Lowe, “my parents put me down in front of Beyoncé music videos, and they were like, OK, you want to do this, then that’s what you need to do.” So she did: She wrote songs for other artists before launching her own career, a journey best summed up by the title of her 2019 debut EP, F**k it i’ll do it myself.\n\nHer debut album, AUDACITY, serves as another mission statement to step fully into her power and take up space in a society and industry built against it. Stephens fortifies her clever lyricism and catchy hooks with maximalist production and femme-fatale energy, asserting her rights even when they lay bare her wrongs: domesticating a former bad boy on the bass-knocking “Attaboy!”, owning her emotionally avoidant tendencies on the playful “Gymnastics,” and trading back boo’d-up life for the streets on the deceptively sweet “I Miss the City.”\n\n“We were like, how can we go for something that’s just a bit sinister underneath?” Stephens tells Lowe of the songwriting process. “It’s like, imagine this Disney princess locked away in a tower, and she really just wants to shake some ass—she’s really just sick of this guy coming to save her. Like, who cares? Just let me out!”"
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    {
      "type": "album",
      "id": "6815005845",
      "name": "The Gemeliza",
      "link": "https://music.apple.com/us/album/the-gemeliza/6815005845",
      "artist_name": "Los Gemelos De Sinaloa",
      "release_type": "album",
      "record_label": "WEA Latina",
      "copyright": "℗ 2026 Street Mob Records distributed by Warner Music Latina, Inc.",
      "upc": "1200220181674",
      "release_date": "2026-09-24",
      "track_count": 13,
      "genres": [
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        "title": null,
        "tagline": "New Album",
        "short": "The sibling duo push within and beyond música mexicana’s bounds.",
        "full": "For those who’ve been following Los Gemelos De Sinaloa’s auspicious rise, the arrival of The Gemeliza may feel a bit like a shared victory. Just a few years after their 2022 breakout, the short yet effective Bendecido inventively pushed the California natives within and beyond the bounds of the contemporary corridos and norteño interpretations that made them música mexicana notables, setting the stage in 2026 for this decidedly more collaborative album.\n\nEven before fan-friendly appearances by El Fantasma and Calle 24 on “El Muchachon” and the heartfelt “Tu Y Yo,” respectively, the 13-track outing gives twin brothers Juan Moises and Roberto Cardenas plenty of opportunities to showcase their refined approach to their chosen genre. This comes through on pointed cuts like “Mami” and “Te Hubieras Ido Antes,” as well as the standout “Chamba Chamba.”\n\nWhile technically not a joint project, prior collaborators Fuerza Regida—via executive producer JOP—return here on four separate occasions, enough to comprise a speculative EP-length partnership within the album’s structure. Starting with the vibrant opener “Chrome Hearts,” the reconstituted crew makes the most of its formidable combined forces to yield “Baby Momma” and the boisterously brassy “Soy Un Joven.” Additionally, Clave Especial joins in on “FERRARI,” a righteous corrido in which all three acts take a moment to collectively invoke the triumphant spirit of a personal come-up.\n\nOur Favorite Track: A decisive sonic shift from the diverse música mexicana forms of The Gemeliza, “Palm Springs” moves the duo into a lush reggaetón space with Blessd and hitmaking producer Ovy On the Drums."
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      "type": "album",
      "id": "6771009439",
      "name": "The Gem",
      "link": "https://music.apple.com/us/album/the-gem/6771009439",
      "artist_name": "Julia Jacklin",
      "release_type": "album",
      "record_label": "4AD",
      "copyright": "℗ 2026 Julia Jacklin under exclusive license to 4AD Ltd",
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      "release_date": "2026-09-25",
      "track_count": 10,
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        "title": null,
        "tagline": "New Album and Interview",
        "short": "“I was humbled by life,” says Jacklin of slowing down for album four.",
        "full": "“The last couple of years have been transformative,” Melbourne singer-songwriter Julia Jacklin tells Apple Music. “It’s so simple and so embarrassing to say, but I just slowed down.”\n\nA busy 2024 (residencies, tours, “all these bizarre things”) was meant to precede an even bigger 2025, starting with recording this album in 10 days. The quick turnaround had worked just fine the last three times, after all. But something shifted. Firstly, right after recording came a reckoning: “You don’t like it. And you don’t have to explain why you don’t like it,” she says. “The worst thing you can do as a musician is put out songs you don’t like yourself.”\n\nThen, emotional and personal realizations started spilling out. “I was quite humbled by life. There were things I couldn’t process quick enough. It’s literally the first time where I was suddenly more worried about not having a good life, not having good relationships, not making good work than I was about running out of time.”\n\nSo she hit the brakes. Along with Robert Muiños, with whom she recorded the album (his studio is directly above the album’s namesake pub, The Gem), she went back in for 11 months. The period not only resulted in an album she actually loves, it also enabled significant personal learnings, while allowing Jacklin to reconnect with her love of music. “I was more intentional about who I’m around, who’s in my workspace, my personal life,” she says. Below, Jacklin talks through each song on her fourth album.\n\n“Brand New”\n“It was initially this full-band country rock song with different lyrics, but I realized I didn’t like that version, and that’s the only thing I can rely on: I have to like things. I think I realized I was a bit off when a couple people said they liked it, and I was like, ‘Well, they like it, so maybe it’s good?’ So we reimagined the song and had a really fun time in the studio. Recording that song reminded me of how much creating music is about just playing around. It opened up a lot of things for me, it reminded me I’m allowed to have fun, and that I need to trust myself.”\n\n“God Sometimes”\n“I wrote it during an artist residency in Iceland. I’m using god as a metaphor. It’s about those moments where you think, ‘If I just change this little bit here, and diminish myself here, and position myself this way here, maybe I can improve this situation without having to go scorched earth.’ But you also know you’re eventually going to have to backburn and start again. So it’s hyping myself up, reminding myself: you know what you have to do, and it’ll be better if you do this.”\n\n“If I Had the Hand of God”\n“If I have a few weeks between shows I usually won’t come home. It’s too much, I don’t like flying. But it means I have a lot of these odd, liminal-space periods where I’m somewhere strange, often by myself, waiting to start again. I wrote this during once of those periods in Nashville. I was really questioning the cost of this job to my relationships, to being able to have roots. You spend so much time away, then you come home where lives continue, relationships deepen, and I often feel like I’m just floating in space.”\n\n“The Hardest Thing”\n“I’d initially imagined this as a duet, but I’m singing both parts and that’s up for interpretation. It’s painful to be accused of not giving enough love when it’s actually like, ‘I’m doing everything I can to make you feel loved. You don’t seem able to receive it because you don’t think you’re worthy of love.’ It’s really sad, but no amount of love can be poured into that. The song’s about getting to the end of that experience and feeling like, ‘I’m not the villain here. I really did try everything I could.’”\n\n“Angel Vision”\n“It’s a companion song to ‘Walk on Me.’ It’s a conversation with myself, coming from a place of curiosity and tenderness, trying to figure out why I stayed in situations that weren’t good for me. I’m checking in and gently asking, ‘Why did you feel like you deserved that? What’s my own responsibility there?’ The complicity that I have with my own oppression in certain situations. I don’t want to have those experiences again, so it requires some tough talk and some real deep examining.”\n\n“Real Life”\n“I think people see me more as a lyricist, but I love rhythm, I’m very sensitive to it. Music is meant to make us feel stuff, including in our body. I think a lot of people like me can struggle to connect the head to the body when we’re big ruminators. So this was just a really fun exercise in exploring different rhythms and instrumentation.”\n\n“Get Away From Me (I Think I’ll Love You Soon)”\n“I’d originally written it for my friend Tom to sing, and that can give me freedom to write something I typically wouldn’t for myself. I’d just started dating someone and was walking to their house when the song just popped into my head. I can still see the street I was walking down in Clifton Hill when it happened. There’s an exuberance and joy here, and it’s like I didn’t write it, it was just handed to me.”\n\n“You Turned on the Tap”\n“Sometimes we can stress about somebody thinking certain things about us, like being annoyed at us for not showing up. It’s felt louder in the past, when I had people in my life who didn’t give me the benefit of the doubt, or didn’t take the time to see me for who I was. This song is an ode to the people who do. It’s like, you came over and watered the grass, even though I wasn’t doing well and I couldn’t show up. But you love me, and you know me, and you care for me.”\n\n“Walk on Me”\n“It’s a tough one, emotionally: a ‘two chords and the truth’ song. Recording it opened something up for me. Sometimes you spend so long getting the levels right, and everyone’s wearing headphones, and by the time you actually start playing, you’re too self-conscious. With this one, Rob encouraged us not to wear headphones and to be present with each other in the room. It’s the longest song I’ve ever recorded, and I got to fully lose myself in it.”\n\n“I Wish” (feat. The Maes)\n“I’m basically being a parent to my 15-year-old self and a friend to my 27-year-old self. And giving myself grace around two very difficult periods of my life where I always say, ‘Oh, but I got through it and that’s why I became who I am.’ This song is me being like, ‘That can be true, but also, you deserved to have more support. You deserved more in those moments.’”"
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      "name": "No Brakes",
      "link": "https://music.apple.com/us/album/no-brakes/6788567557",
      "artist_name": "Warren Zeiders",
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      "copyright": "℗ 2026 717 Entertainment, Inc. under exclusive license to Warner Records Inc.",
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        "short": "The chameleonic performer dips into emo, folk and alt-rock across 12 tracks.",
        "full": "Warren Zeiders continues to surprise on this third studio album, as the country heartthrob and chameleonic performer dips into genres like emo, folk, and ’90s alt-rock across a dozen vibrant tracks. Accordingly, Zeiders brought multiple perspectives into the studio to chase that wide range of sounds, working with producers Gabe Simon (Noah Kahan, Koe Wetzel), Ross Copperman (Sam Hunt, Dierks Bentley), Evan Blair (Benson Boone, ROSÉ), and Ben Johnson (Lauren Alaina, Bailey Zimmerman).\n\nOpener “Ruin a Good Thing” sits at the unexpected midpoint between radio-ready pop country and grungy, ’90s alt, with a romantic melody adding brightness to Zeiders’ gritty vocal and Simon’s sludgy production. “No Brakes” lets Zeiders lean into his traditional country influences, with a folky, almost gospel-tinged chorus and elastic dobro from celebrated multi-instrumentalist Ilya Toshinskiy. UK-born singer-songwriter Bellah Mae is the lone featured collaborator on No Brakes, joining Zeiders on “Overrated,” an infectiously hooky anthem with a pop-punk vibe."
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      "name": "BABE: ELABORATIO – A Tribute To My Mother",
      "link": "https://music.apple.com/us/album/babe-elaboratio-a-tribute-to-my-mother/6803227857",
      "artist_name": "Harry Connick, Jr.",
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      "record_label": "Mindfish Music, LLC",
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      "release_date": "2026-09-25",
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        "tagline": "New Album and Interview",
        "short": "Harry Connick, Jr.: “I wanted this to be a very personal tribute to my mom.”",
        "full": "As a classically trained piano prodigy growing up in New Orleans, Harry Connick, Jr. embraced his mother’s dream that one day he would play at Carnegie Hall. He was 10 when she was diagnosed with cancer. “I actually called the Hall from New Orleans and asked them if I could play there,” he says. “They said, ‘Well, this is the box office. Um, it doesn’t work like that.’ I told my mom, ‘You know, I tried.’” She died three years later, and that’s when Connick vowed that unless it was for a special occasion, he would never set foot in New York’s most prestigious music venue.\n\nThat occasion arrived in May 2026 with the world premiere of this work, BABE: ELABORATIO—Connick’s orchestral tribute to his mother, Anita-Francis Livingston Connick, or “Babe” as she was affectionately known, performed on what would have been her 100th birthday. Marking a step away from the jazz for which he’s best known, the piece is written in three movements for large-scale orchestra, big band, and solo piano. Each section corresponds to a period in her life: her childhood in New York; her journey to Istanbul and then to Nouaceur, Morocco, where she met and fell in love with her husband; and her later years in New Orleans where she became a trailblazing judge and a mother. “I chose to call it ELABORATIO because she would have found that absurd; she would have said, ‘Why don’t you just call it “Music for My Mom” or something?’”\n\nWith its shades of George Gershwin and a theme that spells out the letters B-A-B-E, the opening movement, “New York,” is immediately redolent of jazz-age New York, but it’s inspired less by Rhapsody in Blue than by his mother’s childhood memories, says Connick. “Like the time when she was three and a policeman pulled my grandfather over because he said, ‘You’re not allowed to drive livestock through Times Square.’ But it was my mom with her blonde hair and all her siblings in the back—the cop thought they were sheep.” So how does Connick translate these snapshots into sound? “You think, ‘If I were watching that in a film, what would the soundtrack sound like?’” he explains. “It wasn’t trying to sound like New York. It just came out like it.”\n\nIdeas came quickly to Connick—it took him only six weeks to write and arrange the entire work. Just as his mother’s love of three-movement concerto form suggested its overall structure, so her passion for Beethoven inspired the second movement, where the musical language is highly Romantic. The movement begins with a lone clarinet solo, against percussion, evoking the image of his mother arriving alone in Istanbul after leaving New York. “When the strings come in and the brass after that, it’s like, ‘What is happening right now?’—that sense of, ‘Oh my gosh, where am I?’” The piano writing is also richly chromatic. “I don’t let the keys bind me,” he explains. “Plus, there’s this B-A-B-E thing, which is absolutely everywhere: The notes are buried in the music.”\n\nThe last movement, “New Orleans,” captures Babe’s arrival in New Orleans where, together with Harry Connick, Sr., she opened a record store from which they raised enough money to put themselves through law school. Here, the opening fluttering piano figuration represents the propellers of the plane, before we are plunged into the vibrant chaos of Louisiana life. A poignant moment of reflection arrives with solo piano chords, evoking the birth of his sister. “She was born on July 7, so there’s seven chords and then there’s this rhythmic pattern, which is when I was born. From then on, it kind of spun out of control.\n\n“Sometimes, I wish I could go back and rewrite this movement,” he adds. “Like, it’s a little bit frenetic and all over the place, but that’s kind of what my life was because my mother was dying and I had no control over that. I was in a tailspin at that point.”\n\nConnick says that after all the years of waiting, his Carnegie debut was one of the “heaviest things I’ve ever lived through.” Does he worry about making such intimate reflections public? “It would have mattered earlier in my life when I didn’t really talk about my mom that much just because it hurt too much. But as I got older, over the decades I became more comfortable with talking about her. I’m not really interested if somebody wants to critique it.” He pauses: “Like, I kept asking myself, ‘Is this the best you can do? Are you doing the best work you can do?’ And it really is. I wanted it to be a very personal tribute to my mom that only I could have written from my perspective.”"
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      "id": "6775592761",
      "name": "Violins",
      "link": "https://music.apple.com/us/album/violins/6775592761",
      "artist_name": "Blondshell",
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      "upc": "0720841307006",
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        "short": "Slippery metaphors, swelling guitars, and disarming vulnerability abound.",
        "full": "Since she blew up with “Olympus,” her 2022 debut single, Blondshell has built a catalog of ’90s-leaning rock with confessional lyricism, chronicling fraught relationships, complex family dynamics, and the many pitfalls of life in your twenties. Now 29, the singer-songwriter born Sabrina Teitelbaum is trying to navigate a cruel world with a soft touch.\n\nOn her third album, Violins—produced by longtime collaborator Yves Rothman—Teitelbaum draws from influences like Gang of Four, Teenage Fanclub, and Television as she wonders how the world could simultaneously contain so much violence and beauty. Here, she trades the drama of romantic troubles to explore knottier themes like difficult friendships: On “Heart Has to Work So Hard,” she works through a toxic friendship and ends up at forgiveness.\n\nAnd on the cathartic title track, “Violins,” she balances images of brutality and tenderness, finding comfort in small gestures like resting your head on someone’s shoulder. Slippery metaphors, swelling guitars, and disarming vulnerability abound."
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      "name": "EXPERIENCE",
      "link": "https://music.apple.com/us/album/experience/6802423753",
      "artist_name": "Tank",
      "release_type": "album",
      "record_label": "BMG Rights Management (US) LLC",
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        "title": null,
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        "short": "An R&B favorite stretches himself in new directions on his 11th album.",
        "full": "In 2026, Tank reminded the world that he was a member of slow-jam royalty when he went head-to-head with fellow R&B smoothie Tyrese in a VERZUZ face-off. But on his 11th album, he also establishes himself as a sonic adventurer—on “WHOLE LOT OF ME” he dives into trap, his voice draping itself over its snares and heavy low end, while “RICK” is a modern roller-rink jam where he trades one-liners with the legendary MC Remy Ma.\n\nTank also gets in touch with his spiritual side on EXPERIENCE, bringing out his gospel background after years of being averse to doing so; the album closes with the repentant “HOW I NEED YOU,” a devotional with vocal assistance from gospel heavyweights Kirk Franklin, Eric Dawkins, and Zacardi Cortez.\n\nTank is still a master of the bedroom-ready ballad. The Janet Jackson-interpolating “CONTROL” is lush and seductive, while “YOU KNOW” uses synths to make Tank’s sweet nothings shine. But EXPERIENCE lives up to its title, with Tank’s storied career as a jumping-off point for him to stretch his artistry."
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      "id": "6793616720",
      "name": "Ramblin'",
      "link": "https://music.apple.com/us/album/ramblin/6793616720",
      "artist_name": "Dylan Gossett",
      "release_type": "album",
      "record_label": "Dylan Gossett",
      "copyright": "A Big Loud Texas / Mercury Records Release; ℗ 2026 Dylan Gossett, LLC, under exclusive license to Mercury Records, a division of UMG Recordings, Inc.",
      "upc": "00881061218401",
      "release_date": "2026-09-25",
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        "title": null,
        "tagline": "New Album",
        "short": "The Texas singer-songwriter’s second LP chronicles life on the road.",
        "full": "Dylan Gossett picks up where he left off with his 2025 debut album, Westward, on this introspective collection, the bulk of which the Austin-based singer-songwriter conceived of while traveling the world on his first major tours. Appropriately, there’s an undeniable undercurrent of motion characterizing the dozen songs on Ramblin’, whether in lyrics that function as travelogues or in the album’s dynamic but understated production.\n\n“Headed Back to Austin” is homesick, as a driving beat propels Gossett “straight down 29” to a place that is at once familiar and rendered unknowable by his absence. “Clothesline” uses images of domesticity to illustrate the ties that can bind us to the wrong people, with layers of acoustic guitar, banjo, and pedal steel creating a lush backdrop. The spare title track, “Ramblin’,” is especially tender, with Gossett sounding wounded as he wonders at his place in the world."
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    {
      "type": "album",
      "id": "6798862624",
      "name": "IS THIS THE END?",
      "link": "https://music.apple.com/us/album/is-this-the-end/6798862624",
      "artist_name": "Chelsea Cutler",
      "release_type": "album",
      "record_label": "Chelsea Cutler LP4",
      "copyright": "℗ 2026 CC Ventures LLC, under exclusive license to Mercury Records, a division of UMG Recordings, Inc.",
      "upc": "00881061403319",
      "release_date": "2026-09-25",
      "track_count": 14,
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        "title": null,
        "tagline": "New Album",
        "short": "The pop polymath presents a break-up drama in two acts.",
        "full": "Connecticut pop polymath Chelsea Cutler wrote her fourth album in the thick of her late twenties, that time in life when the carefree adventurism of young adulthood inevitably gives way to serious grown-up decisions about what you want to do with your life, and who you want at your side for the long haul.\n\nWith IS THIS THE END?, Cutler presents a break-up drama in two acts. In the first part, she bottles up all the exhilaration of falling in love—and the somewhat unhealthy codependency that results—into anthemic, emotionally urgent tracks (“CAN YOU SHOW ME?”, “SORRY I’M OBSESSED WITH YOU”) that hover between the confessional alt-pop of Lorde and the dreamy ’80s sheen of Lover-era Taylor Swift.\n\nBut on the flipside, she surveys the aftermath of the split, using post-dubstep production tics to render the mental fogginess of “DO YOU EVER REALLY KNOW?”, while rendering the unfiltered heartache of “THIS TIME OF THE YEAR” with indie-folk brushstrokes.\n\nOur Favorite Track: “THE CAR RIDE HOME,” the album’s climactic penultimate song, is a glorious synth-smeared ballad where Cutler vows to leave her troubles in the rearview and look forward to the less cruel summers that lie ahead."
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    {
      "type": "album",
      "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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    {
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      "id": "6769156881",
      "name": "Solaris",
      "link": "https://music.apple.com/us/album/solaris/6769156881",
      "artist_name": "The Ocean",
      "release_type": "album",
      "record_label": "Pelagic Records",
      "copyright": "℗ 2026 Pelagic Records",
      "upc": "820233267496",
      "release_date": "2026-09-25",
      "track_count": 12,
      "genres": [
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "A sprawling post-metal opus inspired by the 1972 Tarkovsky classic.",
        "full": "Taking inspiration—and its name—from Andrei Tarkovsky’s 1972 sci-fi masterpiece, The Ocean’s 12th album sees founding guitarist Robin Staps leading an almost entirely different lineup than the one he maintained for the last decade-plus. With two new guitarists, two new vocalists, and a new drummer, Staps somehow corrals members from six different countries—everywhere from Australia and Italy to Bolivia and his own native Germany—to maintain his singularity of vision.\n\nLike The Ocean’s previous work, Solaris is a sprawling post-metal opus with thrilling highs and crushing lows. Featuring seamlessly progressive arrangements, haunting vocals from Chinese-born vocalist Lane Oshi, and many songs nearing the 10-minute mark (album centerpiece “Simulacra” is over 17), the album is as impressive as it is remarkably on-brand."
      },
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    {
      "type": "album",
      "id": "6806857353",
      "name": "Songs to Listen to in a Wendy’s Parking Lot - EP",
      "link": "https://music.apple.com/us/album/songs-to-listen-to-in-a-wendys-parking-lot-ep/6806857353",
      "artist_name": "Wendy's",
      "release_type": "ep",
      "record_label": "Rise Records",
      "copyright": "℗ 2026 Wendy’s x Rise Records, Inc.",
      "upc": "4099964281286",
      "release_date": "2026-09-23",
      "track_count": 6,
      "genres": [
        "Pop Punk",
        "Music",
        "Alternative"
      ],
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        "width": 3000,
        "height": 3000,
        "background_color": "#03080b"
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      "editorial_artwork": null,
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    },
    {
      "type": "album",
      "id": "6796319106",
      "name": "I Wrote You A Letter",
      "link": "https://music.apple.com/us/album/i-wrote-you-a-letter/6796319106",
      "artist_name": "M83",
      "release_type": "album",
      "record_label": "M83 Recording Inc",
      "copyright": "℗ 2026 M83 Recording Inc",
      "upc": "3618113528099",
      "release_date": "2026-09-25",
      "track_count": 9,
      "genres": [
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        "Music"
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "Anthony Gonzalez trades indie-pop anthems for mercurial soundscapes.",
        "full": "M83‘s 10th album wastes no time reorienting you to Anthony Gonzalez’s neon-glow dreamworld, as the opening “Blister Sunrise” instantly plunges you into a synthgaze sound bath as swiftly as “Only Shallow” tosses you straight into the deep end on my bloody valentine’s Loveless.\n\nWhile Gonzalez has long excelled at translating his hallucinatory visions into heart-racing indie-pop anthems, the largely instrumental I Wrote You a Letter feels closer in spirit to his embryonic early-2000s work, where he wasn’t so much singing his heart out as letting his emotions well up into dam-bursting waves of electronic psychedelia.\n\nHere, Gonzalez lets the digi-drone drama build to operatic levels (and not just on the track that’s actually called “Opera”). Where “Losing Ground” begins as a serene soundtrack to a new day rising, by the end, its intensifying oscillations feel better suited to accompany a rocket launch.\n\nBut there are also echoes of Gonzalez’s more esoteric film-score compositions, where his neoclassical and improv affinities come to the fore: If you’re the sort of M83 fan who can’t resist playing air-sax to his signature 2011 synth-pop bop “Midnight City,” you’ll have your work cut out for you when trying to keep up with the mercurial free-jazz meditation “Siren / Behold…Beasts.”\n\nOur Favorite Moment: When the gentle psych-folk finger-plucking of “Feeding Time” suddenly explodes into a synth-shocked, speed-prog stomper that sounds like Gonzalez’s tech-topian version of hardcore."
      },
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    },
    {
      "type": "album",
      "id": "6802322688",
      "name": "EXITECHNO",
      "link": "https://music.apple.com/us/album/exitechno/6802322688",
      "artist_name": "FKA MASH",
      "release_type": "album",
      "record_label": "September Bloom",
      "copyright": "℗ 2026 September Bloom",
      "upc": "5059449425856",
      "release_date": "2026-09-25",
      "track_count": 13,
      "genres": [
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        "Music",
        "Dance"
      ],
      "audio_traits": [
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "A silky blend of sunset-dipped disco, deep house, and techno influences.",
        "full": null
      },
      "artwork": {
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    },
    {
      "type": "album",
      "id": "6768765527",
      "name": "Los Ojos Del Cóndor",
      "link": "https://music.apple.com/us/album/los-ojos-del-c%C3%B3ndor/6768765527",
      "artist_name": "Hermanos Gutiérrez",
      "release_type": "album",
      "record_label": "Easy Eye Sound",
      "copyright": "℗ 2026 Hermanos Gutiérrez, Under exclusive license to Easy Eye Sound®. A Concord Label Group Release.",
      "upc": "00888072792548",
      "release_date": "2026-09-25",
      "track_count": 10,
      "genres": [
        "Worldwide",
        "Music"
      ],
      "audio_traits": [
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        "lossy_stereo",
        "spatial"
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "The Zurich instrumental duo reunites with producer Dan Auerbach.",
        "full": null
      },
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    },
    "... 25 more items"
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}