Björk, the Icelandic avant-garde musician known for her boundary-pushing sound and theatrical performances, takes us on a journey through her catalog during an exclusive show in Lisbon. While the performance leans heavily on *Utopia*, her ambitious 2017 project about healing and new beginnings, she also performs vivid early-career compositions like “Isobel” and “Hidden Place.” The set list was arranged to celebrate a lifetime of creative innovation, performed in front of a live audience, and mixed and mastered in Spatial Audio.
The South Texas singer and guitarist spent his youth roaming—learning the drinking songs of the French Quarter firsthand, busking on New York City subway platforms, performing in communes in Northern California. These days, Charley Crockett seems to sublimate his restless wanderlust into endless touring and prolific recording; *Lonesome Drifter*, co-produced by Shooter Jennings, is his 16th record in nine years. Its dreamy outlaw ballads and honky-tonk numbers tell a story about hustling in America (“That old-time feeling just up and walked away/Left me with these interest rates,” he sings on “Game I Can’t Win”), and meanwhile, a story of his years spent on the road. “My age is showing in a motel mirror,” he confesses over organ chords on “Under Neon Lights.” And the wistful “Life of a Country Singer” is a ballad of a liminal existence that unfolds in-between spaces, somewhere between dusk and dawn, and between right and wrong. “There’s a long, long line of country singers, singing songs about livin’ late at night,” he drawls, admitting “I ain’t the first one, or the best—but I’m different.”
Even when she’s rejecting therapists’ advice and flipping the bird to exes’ exes, BANKS sounds positively revitalized on her fifth studio album *Off With Her Head*. Jillian Banks’ follow-up to 2022’s *Serpentina* largely jettisons the smoky balladry that marked its predecessor in favor of sharp, skipping electro-pop—representing something of a full-circle back to her star-making 2014 debut, *Goddess*. The callback is more than skin-deep, as BANKS brings back several key collaborators from her early days—including UK dance impresarios like Totally Enormous Extinct Dinosaurs and Lil Silva, as well as moody alt-R&B auteur SOHN—to pitch in when it comes to *Off With Her Head*’s sonically multifarious production. A few new friends join in, too: Sampha’s unmistakable vocals mark the pulsing pop of “Make It Up,” while the ascendant rap superstar Doechii brings her fiery personality on “I Hate Your Ex-Girlfriend” with unmistakable lyrical bon mots like “Wrap a bow around your coffin like it’s Christmas.”
When Biig Piig, aka Irish pop dynamo Jess Smyth, listens back to her debut album, she hears a record that reflects how much music is a friend to her. These songs are where Smyth has channeled her emotions over the past few years, where she’s tried to make sense of the turmoil. “Within the chaos, the only thing that really keeps me together is music and being able to make it, and expressing through lyrics and melodies and storytelling—just to be able to talk to something and get my feelings out,” she tells Apple Music. “When I listened back to it, I was like, ‘Fucking hell!’ There was so many moments that I really needed a friend and music was that for me.” *11:11*, the follow-up to her excellent 2023 mixtape *Bubblegum*, marks the arrival of a striking new voice in modern music. The music deftly shapeshifts from one song to the next, an exhilarating ride through strobing electronic pop, minimalist, melodic techno, downbeat balladry, atmospheric trip-hop, and synth-disco anthems. One thing, says Smyth, unites them. “There’s a lot of sad bangers on this fucking record!” she hoots. “If you can’t celebrate it, what are you going to do, if you can’t get a little dance on whilst you’re crying?” Dab down your tears and head towards the dance floor: Biig Piig is here to take you through *11:11*, track by track. **“4AM”** “When I started ‘4AM,’ I knew I wanted it to be the first track because the way it starts is, ‘You could’ve hit me with the bad news first.’ And I was like, ‘I want that to be the opening line because I know that where we’re going with every other track, and the way we’re weaving through this relationship and diving into those things.’ I’m like, ‘Fucking hell, I wish I knew that it was going to hurt, diving in.’ It sparked something in me where I was like, ‘Oh fuck, I really want to delve deeper with it.’” **“Ponytail”** “This was made with Lloyd MacDonald \[aka producer/artist Mac Wetha\], who I really like because he’s so integral to everything for as an artist. I wouldn’t have released music without him so I really wanted to make sure that he was on this record. Lloyd is the OG, the first producer that I just ever felt comfortable enough to show music to and he was so encouraging with bringing things out. ‘Ponytail’ is a sad banger. It’s basically about a toxic relationship and trying to navigate how hard it is when you’re so attached to something that’s not good for you but you’re like, ‘Fuck, I just can’t really picture my life without it because it’s become such a pattern now that I need you, even if it’s killing me.’” **“Cynical”** “For this, I thought about walking through a city, flicking my hair, and being like, ‘Do you know what? I’m going to go to the bar, I’m going to have a good time.’ It’s when you’re a bit over it—all the fights and everything else with this partner, or with this person. You’re romanticizing your life, and then you run into him, and you’re a bit like, ‘Oh.’ It feels a bit more play-by-play of how that works, and the romanticization to get yourself out of that headspace. It’s about that and about city girls, and how everyone chats, and how it just gets around, summing up what it’s like to be a girl in the city, heartbroken.” **“Favourite Girl”** “‘Favourite Girl’ is a little pop banger. We love her. She’s so fun. I made her with Maverick Sabre and Zach Nahome, who are two longtime collaborators of mine that I love working with. We did ‘Kerosene’ before, the three of us. ‘Favourite Girl’ is tongue-in-cheek, it’s a flirty little track.” **“I Keep Losing Sleep”** “‘I Keep Losing Sleep’ took ages to get done. We had a loop that went on for about six hours, it was this big jam that we did in Paris with me, Zach, and Mav. ‘I Keep Losing Sleep’ was literally a 30-second clip of that jam and we worked off that little part of it and built it out. Lyrically, for me, it’s that point where you’re pretending you’re fine in the record, you’re like, ‘Everything’s good, I’m good, I’m coming back.’ But you’re not taking care of yourself and you’re like, ‘I keep losing sleep over this thing and it’s not helping.’” **“9-5”** “We wrote this in Montmartre, Paris in the studio. You can’t not want to make music there. It used to be Philippe Zdar’s studio, and it’s super small, everyone that works there has worked there forever. It’s super, it just brings something else out of you. Writing this, I was away from my partner at the time and I was missing him. It’s a love song, that kind of ‘I’ll go anywhere for you. I’ll do anything for you because I love you.’ That’s a part in the relationship where everything feels more romantic because you’re in love.” **“Decimal”** “This is a track also made in Montmartre with \[producer\] Andrew Wells. We were just having fun at this point, in a really good writing space. He was like, ‘What do you want this one to feel like?’ and I said, ‘Do you know what? Let me strut.’ He brought in this whole idea of a dance element that we get with the synths and this expanding bit and it just ended up happening. It’s quite a sexy tune. It’s just about finding someone, meeting them across the room, and being drawn to them, and losing inhibitions, and diving into that desire.” **“Silhouette”** “‘Silhouette’ is the opposite to ‘9-5.’ They’re like day and night. It’s one we also wrote in Paris at a different point in the year when things weren’t going so well. But it’s also an important for the story of the album, we’re exploring all sides of a relationship. This one is getting to a point where it’s ‘You know that it hurts me, why do you do it?’ and coming face to face with the pain of that and the loss of trust and the self-destructive thing comes into that a lot as well. I feel like a casualty in the fucking records that I made. It’s a heartbreak song.” **“Stay Home”** “This is about falling for someone, that point where everything’s a bit soft and sweet. Then I was like, ‘Do you know what? My family and my friends have been so important to me through everything and they’re really what represents love to me, there’s no chance I’m making my first record and not having them on it.’ I was like, ‘Let’s do it, let’s go to the pub and we’ll get everyone down with some drinks, and we’ll do a recording of the chorus.’ So we did that, which is so cute, so messy but so cute. Through relationships, through everything, through different points in your life, who do you look to as real love? That’s family and friends for me.” **“One Way Ticket”** “This is a sad one, about someone that I lost in my life. So many things are happening now and, \[in\] the last couple of years have been happening—and it’s sad that he’s not here to see them. He’s someone that I wish I could share that with and so this is a love letter to him a little bit, just to let him know what’s going on, and to be like, ‘Wow, you always said this would happen and now you’re not here to see it, but you’re here.’” **“Brighter Day”** “‘Brighter Day’ is the overarching moment where you look back on everything that’s happened, and you go, ‘Fucking hell, it’s mad!’—and watching someone go and accepting that that’s what’s happened and where you are in your life. It’s appreciating every moment for what it has been and being hopeful for the next round.”
The vocalist/DJ Blane Muise came of age in the South London club scene before debuting as Shygirl in 2016. In the years to follow, her bawdy blend of pop, rap, and forward-thinking electronics became beloved by club kids worldwide, though as her profile had risen, she’d admittedly grown disengaged from the scene herself. Her first *Club Shy* EP, released in February 2024, was a conscious return to the dance floor, with 15 euphoric minutes of pure serotonin release. A year later, *Club Shy Room 2* plays out like an after-party that finds Shygirl leaning further into her hip-hop and grime influences alongside a formidable girl gang. That includes reggaetón maverick Isabella Lovestory, R&B luminary Jorja Smith, and the California rapper Saweetie, who makes herself at home on the raunchy “Immaculate,” which the pair debuted last year on Charli xcx and Troye Sivan’s Sweat Tour. Indeed, in a post-*Brat* landscape, the intersection of pop and club music feels as vital as ever, but Shygirl’s been about this life.
It takes a certain amount of gumption to name a track “Your New Favorite Song,” but LA alt-pop trio Wallows possess just the right combination of humble charm and outsized confidence to pull it off. On the one hand, it’s an intimate breakup serenade about a guy trying to win back his girl by writing her a pretty tune; on the other hand, the sax-sweetened, flute-speckled, bongo-grooved track is emblematic of a band that’s become ever more adept at hitting myriad pop-song pleasure points simultaneously. Coming on the heels of 2024’s John Congleton-produced *Model*, *More* is a seven-song EP overflowing with a double album’s worth of ideas: “Not Alone” blossoms from a bedroom synth-pop sketch into a skyscraping, drum-pounding anthem, while “Coffin Change” angles for retroactive placement on your 2009 Indie Bops playlist sandwiched between Phoenix and Vampire Weekend. But the two appearances of “Deep Dive”—first as a lush ’70s soft-rock flashback and then as a summer-vibed pool-party soundtrack—provide the clearest view of Wallows’ ever-expanding talent for updating classic pop craftsmanship with contemporary indie aesthetics.
“We move not backwards, only forward/From West Ham to Norwood,” says Greentea Peng, paying tribute to some of London’s most vibrant communities on “TARDIS (hardest).” And the South London-born purveyor of psychedelic soul is definitely moving things forward on the follow-up to her 2021 debut *MAN MADE*, taking in reggae, dub, and trip-hop for *TELL DEM IT’S SUNNY*. Her lyrics are uncompromising as she admits vulnerability, the need to heal, and the determination to keep putting one foot in front of the other, no matter what the outside world throws at her. Meanwhile, the hazy beats offer the perfect backdrop for her confessions. “That’s how we solve business when shedding one’s skin,” she says, as she reflects on “Green.” But if this album’s anything to go by, growth and emotional reflection are on the menu. From the nostalgic honesty of “Raw” to the playful, party-ready anthem “Watcha Mean,” Peng nails a whole lot of emotion in the 14 tracks.
