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      "id": "6818209777",
      "name": "HABIBTI (FOMO)",
      "link": "https://music.apple.com/us/album/habibti-fomo/6818209777",
      "artist_name": "Drake",
      "release_type": "album",
      "record_label": "OVO/Republic",
      "copyright": "℗ 2026 OVO, under exclusive license to Republic Records, a division of UMG Recordings, Inc.",
      "upc": "00881061707059",
      "release_date": "2026-10-02",
      "track_count": 24,
      "genres": [
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        "short": "The 2026 album, now with videos and four previously unreleased tracks.",
        "full": "& other nicknames I call my dear city"
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      "id": "6814997249",
      "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",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2026 Taylor Swift",
      "upc": "00881061651819",
      "release_date": "2026-09-24",
      "track_count": 16,
      "genres": [
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        "title": null,
        "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": "6776432217",
      "name": "Heaven on Mars",
      "link": "https://music.apple.com/us/album/heaven-on-mars/6776432217",
      "artist_name": "NoCap",
      "release_type": "album",
      "record_label": "Atlantic Outpost",
      "copyright": "Atlantic Records, ℗ 2025 Atlantic Records Group LLC",
      "upc": "075679572530",
      "release_date": "2026-10-02",
      "track_count": 21,
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        "tagline": "New Album",
        "short": "The Mobile, Alabama, MC processes pain in ways both specific and abstract.",
        "full": "“If I can kill a beat, I can heal the trenches,” NoCap attests on “GPS.” That’s the ethos of the YoungBoy NBA signee in a nutshell: using his music as a vehicle to convey the experiences in his hood of Mobile, Alabama, while processing his own pain. He continues this with Heaven on Mars, using a set of low-key sound beds to back Auto-Tuned vocals and a songwriting style that varies between hauntingly specific and lyrically abstract.\n\nOn “Astronaut Tears/Love Don’t Stay,” he intersperses verses that mournfully chronicle moving on after the loss of a loved one between vocals from a gospel choir, while “Turks & Caicos” takes street sensibilities overseas for a tropical vacation. “Agency,” meanwhile, finds NoCap emotionlessly flaunting his wealth, begging for a woman to break his heart just so he’ll feel something.\n\nBut on “Complicated,” he boasts of his success after legal troubles and being counted out. “Whole world tried to judge my wrong/All of a sudden, I’m sittin’ courtside,” he proudly declares. Through so many bouts of depression, any reason to celebrate is well-received."
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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,
      "genres": [
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        "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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      "id": "6781873059",
      "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",
      "track_count": 27,
      "genres": [
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        "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": "6810715695",
      "name": "Westside Whimsy",
      "link": "https://music.apple.com/us/album/westside-whimsy/6810715695",
      "artist_name": "Jhené Aiko",
      "release_type": "album",
      "record_label": "Def Jam Recordings",
      "copyright": "℗ 2026 Def Jam Recordings, a division of UMG Recordings, Inc.",
      "upc": "00881061588689",
      "release_date": "2026-09-11",
      "track_count": 20,
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        "tagline": "New Album",
        "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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      "id": "6769568449",
      "name": "ICEMAN",
      "link": "https://music.apple.com/us/album/iceman/6769568449",
      "artist_name": "Drake",
      "release_type": "album",
      "record_label": "OVO/Republic",
      "copyright": "℗ 2026 OVO, under exclusive license to Republic Records, a division of UMG Recordings, Inc.",
      "upc": "00600574206930",
      "release_date": "2026-05-15",
      "track_count": 18,
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        "tagline": "New Album",
        "short": "The multifaceted MC breaks the ice.",
        "full": "above you, below zero."
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      "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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    {
      "rank": 9,
      "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,
      "genres": [
        "Alternative",
        "Music"
      ],
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        "hi_res_lossless",
        "lossless",
        "lossy_stereo",
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      "is_single": false,
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      "description": {
        "title": null,
        "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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    {
      "rank": 10,
      "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,
      "genres": [
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        "Music",
        "Electronic"
      ],
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      "description": {
        "title": null,
        "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.”"
      },
      "artwork": {
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    {
      "rank": 11,
      "id": "6791645195",
      "name": "Frequency Of Love",
      "link": "https://music.apple.com/us/album/frequency-of-love/6791645195",
      "artist_name": "Victoria Monét",
      "release_type": "album",
      "record_label": "Lovett Music/RCA Records",
      "copyright": "℗ 2026 RCA Records, under exclusive license from Lovett Music, Inc.",
      "upc": "196874323458",
      "release_date": "2026-10-02",
      "track_count": 22,
      "genres": [
        "R&B/Soul",
        "Music"
      ],
      "audio_traits": [
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      "is_single": false,
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "An ambitious journey through the R&B songwriter’s record collection.",
        "full": "In 2023, Victoria Monét stepped out from behind the boards and into the spotlight with the slinky “On My Mama,” and in the years since the in-demand songwriter has staked out territory in R&B’s upper echelons as an artist. With her second full-length, she takes listeners on an ambitious journey through her record collection and her mind.\n\nNods to soul classics by the likes of Brandy, Kenny Lattimore, and Asfhord & Simpson dot the album, but Monét shows that her musical palette is wide. On “Care For Somebody (Interlude),” her voice curls around lyrics inspired by the 20th-century standard “Somebody,” while the heart-eyed Bruno Mars duet “That’s Why I Love You” spins out of the ’60s bolero-pop cut “Ritornerai.”\n\nIn addition to Mars, Monét’s guests include SZA (on the gauzy “See You in My Dreams”), Lucky Daye (on the glossy “Maybe”), Chlöe (on the kinetic house cut “Lose Myself”), and Leon Thomas and Monét’s daughter Hazel Monét (on the profession of love “You Mean the World to Me”). But Monét doesn’t let the many cameos get in the way. Whether she’s leading gospel choirs or meticulously detailing her bedroom demands, Monét shows that her vision is boundless."
      },
      "artwork": {
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    {
      "rank": 12,
      "id": "1802103958",
      "name": "I’m The Problem",
      "link": "https://music.apple.com/us/album/im-the-problem/1802103958",
      "artist_name": "Morgan Wallen",
      "release_type": "album",
      "record_label": "Big Loud Records / Mercury Records / Republic Records",
      "copyright": "℗ 2025 Big Loud Records, under exclusive license to Mercury Records, a division of UMG Recordings, Inc.",
      "upc": "00602475971047",
      "release_date": "2025-05-16",
      "track_count": 37,
      "genres": [
        "Country",
        "Music"
      ],
      "audio_traits": [
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        "lossless",
        "lossy_stereo",
        "spatial"
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      "is_single": false,
      "is_compilation": false,
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "The king of 2020s country on his next opus: “There’s a lot of feelings.”",
        "full": "He may be the biggest star in country music at a time when country music’s bigger than it’s been this century, but Morgan Wallen remembers when he was the underdog. “Once you get to know me, I’m a coyote in a field of wolves,” he sings in his raspy twang on “I’m a Little Crazy,” a tale of moonshine runs and late-night paranoia that closes out his fourth album, I’m the Problem. Speaking to Apple Music’s Kelleigh Bannen, the 32-year-old Tennessee native singled out the line as his favorite. “At times in my life, I haven’t felt like I was invited,” he admits. “To me, that's what that line says: ‘Hey, I know I wasn’t invited, but I’m still eating, and I’m still fed.’”\n\nSince his sophomore album, 2021’s 30-track Dangerous: The Double Album, Wallen’s hyper-prolific bent has become a winning strategy. His 36-track follow-up, 2023’s One Thing at a Time, spawned eight singles (including the inescapable “Last Night”) and broke Garth Brooks’ Billboard record for most weeks at No. 1 by a country album. Not to be outdone, I’m the Problem clocks in at 37 tracks and nearly two hours long. But those hours fly by like a summer evening on the porch with a cooler of cold ones: No one crafts hooky, aerodynamic country anthems like Wallen and his longtime crew of co-writers and producers (HARDY, Ernest Keith Smith, Charlie Handsome, Ashley Gorley, Joey Moi).\n\nThere are the requisite odes to whiskey, women, bucks, and trucks, and Wallen’s in his sweet spot when he’s probing his own conscience, which he does with surprising nuance on songs like “Kick Myself,” a roots-rock exploration of vice and accountability: “Nothing’s changed/In a way it’s getting way, way worse,” he concludes after kicking his bad habits and realizing his problems remain. Themes of addiction and temptation continue through “Genesis,” which Wallen wrote from the top down; rather than starting with the hook like usual, he relished the challenge of flipping the first book of the Bible into something catchy and cool: “I’m like, ‘How would you write a Genesis song? What would it mean? How do you do that without sounding cheesy?’”\n\nYou’d expect the crossover country star of the 2020s to be running a victory lap, but the prevailing mood on I’m the Problem is heartbreak—served up with extra salt on the breakup banger “I Got Better,” but more often with whiskey-soaked regret on singles like “Lies Lies Lies” and “Just in Case.” (“I think there’s a lot of feelings on this album,” he says. “Happy is not the one I do best, normally.”) But the emotional centerpiece is “Superman,” the first song he’s written for his young son, on which Wallen admits his imperfections to the little guy: “I don’t always save the day,” he sings, “but you know for you, I’ll always try.” \n\n“There’s a lot of different things that I felt like I was trying to do,” he says of the deeply personal track. “Not only let him know where I fall short, but also give him advice, let him know I’m protecting him.” Generation-defining country juggernauts have feelings, too, y’know."
      },
      "artwork": {
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    {
      "rank": 13,
      "id": "6809921222",
      "name": "QRÖMELIFE",
      "link": "https://music.apple.com/us/album/qr%C3%B6melife/6809921222",
      "artist_name": "Quavo",
      "release_type": "album",
      "record_label": "Quality Control Music/Motown Records",
      "copyright": "Quality Control Music/Motown Records; ℗ 2026 Quality Control Music, LLC, under exclusive license to UMG Recordings, Inc.",
      "upc": "00881061403432",
      "release_date": "2026-10-02",
      "track_count": 14,
      "genres": [
        "Hip-Hop",
        "Music",
        "Hip-Hop/Rap"
      ],
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        "lossless",
        "lossy_stereo"
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      "is_single": false,
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "His third solo LP bridges the gap between classic funk and Down South rap.",
        "full": "The past few years have been heavy for Quavo, who lost his nephew and Migos groupmate, Takeoff, in 2022. The relationship between the trio had already been strained, with each member focusing on his own solo material and Quavo and Takeoff branching off for a joint album earlier that year. But with Takeoff’s tragic death, Migos effectively ended amid rumors of tension between Quavo and Offset.\n\nQuavo’s previous solo record, 2023’s Rocket Power, was a grief-stricken tribute to his late nephew. Three years later, the 35-year-old rapper is still grieving, but music has helped him to push through. His third solo effort, QRÖMELIFE, honors the process of healing through expression—a journey on which Pharrell served as not just an executive producer, but also a mentor. “I appreciate my big brother Pharrell for guiding me and pushing me creatively at a time when I needed it,” Quavo shared in a September statement. Fresh off Clipse’s 2025 comeback, the Louis Vuitton creative director holed up with Quavo in the studio to make every beat on the album.\n\nThe result is the most upbeat and experimental record of Quavo’s solo career, bridging the gap between classic funk and Down South rap. He recruits T.I. for the nostalgic “Backwards,” a “Welcome to Atlanta” sequel for 2026, while “HAOYU DEWDAT” tags Yung Miami for an interpolation of Young Bleed’s 1998 No Limit sleeper hit. Quavo does his best James Brown impression on “Hit-A-Lik,” channels ’80s freestyle on “Trance (Walk It Down),” and joins forces with Justin Timberlake on the retro “House Music,” a synthwave ode to “music you buy houses with.”\n\nBut QRÖMELIFE’s biggest moment is “Away,” a sonic sequel to 2017’s “Stir Fry,” Migos’ first collaboration with Pharrell. More importantly, it’s a reunion with Offset—the first time the two have shared a track since 2021. At a listening session in LA, Offset emerged to stand beside Quavo as the song played—a small but significant gesture for the long-estranged “cousins.” It’s a milestone that makes Quavo’s line on album closer “Destined” hit different: “Remember where it started/Forever Migo gang.”"
      },
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    {
      "rank": 14,
      "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": [
        "Pop",
        "Music"
      ],
      "audio_traits": [
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        "lossy_stereo",
        "spatial"
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      "is_single": false,
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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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      "rank": 15,
      "id": "6803703672",
      "name": "All Eyes on Shiest",
      "link": "https://music.apple.com/us/album/all-eyes-on-shiest/6803703672",
      "artist_name": "Pooh Shiesty",
      "release_type": "album",
      "record_label": "1017/Atlantic",
      "copyright": "℗ 2026 1017 Global Music, LLC and Atlantic Recording Corporation",
      "upc": "075679560063",
      "release_date": "2026-08-21",
      "track_count": 18,
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        "title": null,
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        "short": "The incarcerated Memphis rapper drops his defiant debut album.",
        "full": "Too often, incarceration and related legal woes have disrupted or derailed rappers at various points in their career ascent. Regardless of one’s guilt or innocence, the corresponding inability to get into the studio and work can transform a hitmaker into an also-ran. Pooh Shiesty is all too familiar with this scenario, serving three years in prison following the success of his Shiesty Season mixtape and its charting singles like “Back in Blood” and “Neighbors.”\n\nHis subsequent release allowed the Memphis-born rapper to get back to making his long-awaited full-length debut. Yet mere months before the arrival of All Eyes On Shiest, he found himself back in federal custody, the tabloid headlines halting the momentum set by its presumed lead single “FDO.”\n\nNot surprisingly, Shiesty’s first-ever album’s subject matter includes thoughts and anecdotes from his stint behind bars, beginning with pressure-cooking opener “I’m Back” and the resilient “Last Man Breathin.” As he did on his earlier songs, he draws upon street lore galore for “Reckless Living” and the unrepentant “Bigger Than the Program.” Yet those who’d accuse him of glorifying a violent lifestyle will want to listen to “Reap What You Sow” all the way through, its scared-straight messaging directed at those who just aren’t built like him.\n\nAs for guests, Shiesty keeps his circle here fairly tight. Repeat collaborator and fellow Memphis rapper BIG30 makes two appearances, first on the like-minded two-hander “Still on Timing” and later on the rambunctious posse cut “CMO Freestyle” with Baby Slime and K Carbon. The tone lightens comparatively for “Booty Club,” a raunchy Tay Keith production with Sexyy Red delivering a characteristically confident feature."
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      "rank": 16,
      "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,
      "genres": [
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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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    {
      "rank": 17,
      "id": "6798964921",
      "name": "Friends That I Don't Like",
      "link": "https://music.apple.com/us/album/friends-that-i-dont-like/6798964921",
      "artist_name": "Dexter and The Moonrocks",
      "release_type": "album",
      "record_label": "Who's Dexter Enterprises / Severance Records / Big Loud Rock",
      "copyright": "℗ 2026 Who's Dexter Enterprises / Severance Records / Big Loud Rock, under exclusive license to Mercury Records, a division of UMG Recordings, Inc.",
      "upc": "00881061405924",
      "release_date": "2026-10-02",
      "track_count": 14,
      "genres": [
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        "title": null,
        "tagline": "New Album",
        "short": "The Texas band’s full-length debut mixes country and hard rock.",
        "full": "Texas’ Dexter and The Moonrocks have described their swaggering amalgam of country and hard rock as “Western space grunge,” and their breakthrough track “Freakin’ Out” offers one example of that style: Opening in a starlit landscape, the song eventually reaches heavier territory, fingerpicked acoustic guitar making way for plugged-in riffs as lead singer James Tuffs’ recollections of anxiety reach a fever pitch.\n\nTheir first proper full-length further lays out the parameters of Dexter and The Moonrocks’ singular style: Harder-edged cuts like “Mull It Over” and “It’s a Lot” match churning riffs with instantly memorable choruses, while offerings like “12 Steps,” a collaboration with Treaty Oak Revival, show off their twangier side."
      },
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    {
      "rank": 18,
      "id": "1817609404",
      "name": "The Art of Loving",
      "link": "https://music.apple.com/us/album/the-art-of-loving/1817609404",
      "artist_name": "Olivia Dean",
      "release_type": "album",
      "record_label": "PLG - Capitol",
      "copyright": "A Capitol Records UK / Polydor Label Group release; ℗ 2025 Universal Music Operations Limited",
      "upc": "00602478512223",
      "release_date": "2025-09-26",
      "track_count": 12,
      "genres": [
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        "Music"
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "The singer-songwriter is “real, fresh, and honest” on her second album.",
        "full": "Olivia Dean’s follow-up to 2023’s Messy suggests she’s anything but. From the radio-friendly uplifter “Nice to Each Other” to the sweeping, late ’60s Dionne Warwick-esque soul of “So Easy (To Fall in Love),” The Art of Loving finds Dean self-assured as she slinks freely through R&B and pop. “You can make whatever you want, there’s no rules and that’s such a freeing feeling,” she tells Apple Music’s Rebecca Judd.\n\nDean describes her songwriting on The Art of Loving as “real, fresh, and honest” and she makes it sound so easy. It’s no surprise that the overarching theme—love in its different forms—came naturally. “I had the title quite quickly,” she says. “I’ve also been fascinated by love. It’s the one thing that everybody is looking for in their life in some capacity, whether it be friendship, family, romantic, but it’s something that we’re not taught. There’s not a love module in school. It’s this magic thing we’re supposed to know how to do. So I wanted to take a closer look at it and what it means to me and the art of it, the craft of loving someone properly.”\n\nThe album opens with the instant hit “Nice to Each Other,” the obvious choice for Dean. “As soon as I wrote it, I knew it was going to be the first song. It’s got a Fleetwood Mac guitary feel and it’s cheeky, it’s flirty,” she says. There might be heartbreaks and wistful moments along the way, but Dean leaves listeners in no doubt she’s in a happy place. “How could I not be?” she says. “I’ve been thinking a lot about touring and what I want to sing live and I want it to be joyful. So I’ve been moving towards joy.”"
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    {
      "rank": 19,
      "id": "1417709876",
      "name": "Brown Noise: Loops for Relaxation, Deep Sleep, Meditation, And Babies",
      "link": "https://music.apple.com/us/album/brown-noise-loops-for-relaxation-deep-sleep-meditation/1417709876",
      "artist_name": "SleepTherapy",
      "release_type": "album",
      "record_label": "SleepTherapy",
      "copyright": "℗ 2018 SleepTherapy",
      "upc": "859727751685",
      "release_date": "2018-07-17",
      "track_count": 8,
      "genres": [
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        "Music",
        "Instrumental"
      ],
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    {
      "rank": 20,
      "id": "6810900350",
      "name": "BIGGER THAN THE DEVIL",
      "link": "https://music.apple.com/us/album/bigger-than-the-devil/6810900350",
      "artist_name": "EST Gee",
      "release_type": "album",
      "record_label": "CMG/Interscope Records",
      "copyright": "℗ 2026 CMG/Interscope Records",
      "upc": "00881061601517",
      "release_date": "2026-09-11",
      "track_count": 23,
      "genres": [
        "Hip-Hop",
        "Music",
        "Hip-Hop/Rap"
      ],
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "An audacious display of everything that makes the Louisville MC special.",
        "full": "Since bursting onto the scene with 2021’s Bigger Than Life or Death, EST Gee has been one of rap’s steadiest presences. As a solo artist, a collaborator, and a member of CMG, the Louisville spitter has slowly built an unimpeachable discography.\n\nHe showcased a more emotive side of his persona on 2025’s My World, a trend he continued on the Mozzy collab project NOT A CHANCE IN HELL, released in February 2026. Both of those releases were table-setters for BIGGER THAN THE DEVIL, a sprawling and audacious display of everything Gee does so well.\n\nBetween his father and his label boss Yo Gotti, EST Gee makes it clear that he’s not building this career on his own. Take “CALL SPITTA,” the album’s fourth track and one that finds EST tracing his family’s history to pay homage to those who paved the way. He also draws a line between his blood relatives and those that have helped his career, rapping, “Yeah, if Gotti need me carried, I’m dropping Cocaine Muzik 11/My daddy couldn’t understand how I made a hundred a brick of fetty/Been in the streets since ’87, didn’t make his legacy seem petty.”\n\nOn “YA DIGG,” he returns to his more menacing and standoff-ish roots, launching venomous barbs at all the opps who have stood in his way. Here, he dedicates space for both a victory lap and a told-ya-so. Over a crunchy beat built around warped horn melodies, Gee warns off imitators and make-believers: “Know they told you about me, you can’t say that you ain’t know nothing.” If you aim at the king, you best not miss.\n\nOur Favorite Beat: The aforementioned horn-led triumph of “YA DIGG.”"
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    {
      "rank": 21,
      "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": [
        "Country",
        "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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    {
      "rank": 22,
      "id": "1871258329",
      "name": "OCTANE",
      "link": "https://music.apple.com/us/album/octane/1871258329",
      "artist_name": "Don Toliver",
      "release_type": "album",
      "record_label": "CactusJack/Donnway/ATL",
      "copyright": "Cactus Jack / Donnway & Co / Atlantic Records, ℗ 2026 Donnway & Co LLC, under exclusive license to Atlantic Recording Corporation",
      "upc": "075679599360",
      "release_date": "2026-01-30",
      "track_count": 18,
      "genres": [
        "Hip-Hop/Rap",
        "Music"
      ],
      "audio_traits": [
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      "is_single": false,
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      "description": {
        "title": null,
        "tagline": "New Album",
        "short": "Cactus Jack’s melodic hitmaker revs things up for his fifth album.",
        "full": "Since breaking out on the Travis Scott ASTROWORLD highlight “CAN’T SAY,” Don Toliver has propelled himself into hip-hop’s mainstream with melodic stylings that willfully and efficiently blur the bounds between rap and R&B. Following the leather-clad rock star moves of his 2024 album HARDSTONE PSYCHO, the Houston rapper returns roughly a year and a half later with an album that enhances that larger-than-life aesthetic while remaining committed to the ultramodern sound he’s spent half a decade cultivating. \n\nHe opens OCTANE with a fuzzy, Isley Brothers-esque funk rock flair on “E85,” a track that soon renews itself in a more maximalist mode. With a seemingly unstoppable energy, he catalogs romantic exploits and sexual conquests with aplomb on revved-up tracks like “Gemstone” and “Rendezvous.” Continuing the Neptunes worship from HARDSTONE’s hit single “ATTITUDE,” he borrows from Justin Timberlake’s “Rock Your Body” for the salacious “Body” and from a broader Southern music tradition for the boozy, hedonistic closer “Sweet Home.” However, when he takes his foot off the gas pedal, he offers up compelling moments such as the erotic “Tuition,” the evocative “Tiramisu,” and the sacrilegious “Rosary.” \n\nYet even as Toliver careens forward with no shortage of flash and finesse, he runs up against thoughts of doubt and longing, evident on moody trap ballads like “Long Way to Calabasas” and the wistful “TMU.” But these complicated predicaments just come with the territory of the audacious lifestyle he so freely sing-raps about, one he stays more or less unapologetic over on “Pleasure’s Mine” and the decidedly more self-aware “All the Signs.”"
      },
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    {
      "rank": 23,
      "id": "1820264137",
      "name": "KPop Demon Hunters (Soundtrack from the Netflix Film)",
      "link": "https://music.apple.com/us/album/kpop-demon-hunters-soundtrack-from-the-netflix-film/1820264137",
      "artist_name": "KPop Demon Hunters Cast, HUNTR/X & Saja Boys",
      "release_type": "album",
      "record_label": "K-Pop Demon Hunters",
      "copyright": "This Compilation ℗ 2025 Visva Records / Republic Records, a division of UMG Recordings, Inc.",
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      "release_date": "2025-06-20",
      "track_count": 12,
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        "Music",
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        "Soundtrack"
      ],
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        "tagline": "New Soundtrack",
        "short": "The animated feature gets an action-packed, high-key K-pop soundtrack.",
        "full": "To craft the soundtrack for KPop Demon Hunters, Netflix’s animated film about a fictional Korean girl group that moonlights as demon hunters, co-directors Maggie Kang and Chris Appelhans brought in some of K-pop’s heaviest hitters. BLACKPINK producer and The Black Label co-founder Teddy Park produced the girl-crush track “How It’s Done” and “Golden,” two of the songs that introduce the sound and characterization of girl group HUNTR/X and its members (Rumi, Mira, and Zoey) within the world of the film. Jenna Andrews and Stephen Kirk, the songwriters behind BTS’s English-language hits “Butter” and “Permission to Dance,” composed the soulful duet “Free” and climactic track “What It Sounds Like,” while German songwriter Lindgren (BTS’s “Boy with Luv,” TXT’s “CROWN”) wrote the fight song “Takedown.” \n\nKang and Appelhans tapped Black Label co-founder KUSH, Black Label producers Vince and 24, and Grammy-nominated music supervisor Ian Eisendrath (Only Murders in the Building) to help craft the sound of demons-turned-idol-group Saja Boys. The composers worked on the bubblegum bop “Soda Pop” alongside fellow Black Label producers Dominsuk and Danny Chung. For the Saja Boys villain track “Your Idol,” Black Label producer IDO, Theater Camp songwriter Mark Sonnenblick, and EJAE were also on the team. \n\nThe soundtrack cements its K-pop credentials by including features from TWICE, one of the most popular K-pop girl groups of all time. A “solo” version of TWICE’s 2024 girl-crush hit “Strategy” (which originally featured Megan Thee Stallion) is included on here, and members JEONGYEON, JIHYO, and Chaeyoung sing an alternate version of “Takedown.”"
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    {
      "rank": 24,
      "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",
        "R&B/Soul"
      ],
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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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    {
      "rank": 25,
      "id": "1542331034",
      "name": "Rain Sounds For Sleep",
      "link": "https://music.apple.com/us/album/rain-sounds-for-sleep/1542331034",
      "artist_name": "Silent Chills",
      "release_type": "album",
      "record_label": "Silent Chills",
      "copyright": "℗ 2020 Silent Chills",
      "upc": "4062851942317",
      "release_date": "2020-12-11",
      "track_count": 10,
      "genres": [
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        "Music"
      ],
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    },
    "... 25 more items"
  ]
}