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Today - Friday, Jan 24

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Album • Jan 24 / 2025
Electronic Dance Music Art Pop
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One summer night in 2022, during a break from shooting *The Crow* reboot in Prague, FKA twigs found her way outside the city to a warehouse rave, where hundreds of strangers were dancing to loud, immersive techno. The experience snapped the English polymath (singer, dancer, songwriter, actor, force of nature) out of the intense brain fog she’d been stuck inside for years—so much so that she was moved to invent a word to describe the transcendent clarity, a portmanteau of “sex” and “euphoria” (which also sounds a bit like the Greek word used to celebrate a discovery: eureka!). *EUSEXUA*, twigs’ third studio album (and her first full-length release since her adventurous 2022 mixtape, *Caprisongs*), is not explicitly a dance record—more a love letter to dance music’s emancipating powers, channeled through the auteur’s heady, haunting signature style. The throbbing percussion from that fateful warehouse rave pulses through the record, warping according to the mood: slinky, subterranean trip-hop on the hedonistic “Girl Feels Good,” or big-room melodrama on the strobing “Room of Fools.” On the cyborgian “Drums of Death” (produced by Koreless, who worked closely alongside twigs and appears on every track), twigs evokes a short-circuiting sexbot at an after-hours rave in the Matrix, channeling sensations of hot flesh against cold metal as she implores you to “Crash the system...Serve cunt/Serve violence.” Intriguing strangers emerge from *EUSEXUA*’s sea of fog, all of them seeking the same thing twigs is—sticky, sweaty, ego-killing, rapturous catharsis.

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Album • Jan 24 / 2025
Post-Rock
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Album • Jan 24 / 2025
Psychedelic Rock Psychedelic Pop
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Album • Jan 24 / 2025
Rage Southern Hip Hop
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Album • Jan 24 / 2025
UK Hip Hop UK Drill
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“I kind of prolonged my come-up,” Central Cee tells Apple Music. Off the success of record-breaking global hits “Doja” and “Sprinter,” not to mention the indisputable smash “Band4Band” with Lil Baby, nobody could have faulted the “Wild” West London native from hastily dropping an album to capitalize on any of those singles. But as he’d be happy to remind any of his fans, it was already an uphill battle just being a rapper out of Shepherd’s Bush, which makes his long-anticipated full-length debut, *CAN’T RUSH GREATNESS*, all the more momentous. “The first two projects were mixtapes,” he explains of his prior work. “The energy I put into them is what made it a mixtape, and the energy I premeditated to put into the album and the timing of everything is what the album is.” In line with that intent, Cee’s conflicted state of mind quickly comes to the fore on opener “No Introduction,” acknowledging and accepting the whirlwind of fame while concurrently craving a more tranquil life. Those changes manifest throughout the album, with him straddling diverging worlds on the drill dazzler “5 Star” and struggling with resonant pain on the plaintive “Limitless.” While the instantly gratifying “St. Patrick’s” indulges in familiar flagrant flexes, the album gets decidedly deeper than rap via tracks like “Don’t Know Anymore” and “Walk in Wardrobe,” with the latter’s late beat-switch raising the stakes. “It’s hard for me to rap in such a reflective wake,” he says. “I just want to look ahead at the light at the end of the tunnel and not really think about certain things.” While a substantial amount of the lyrical material skews intimately local, Cee’s worldwide reach reveals itself largely via collaborations with the likes of Lil Durk and Young Miko. Still, as good as it feels to hear him going bar for bar with 21 Savage on trap stunner “GBP,” his link with UK rap icon Skepta on “Ten” and reunion with *Split Decision* mate Dave on “CRG” just hit different, in the best way. “These songs aren’t really for the masses,” he says, “but just to touch the people, remind everyone that I’m human—that *they’re* human.”

Album • Jan 24 / 2025
East Coast Hip Hop
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Album • Jan 24 / 2025
Indie Rock Indie Pop
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Album • Jan 24 / 2025
Southern Hip Hop Gangsta Rap Trap
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Whether rocking with hip-hop heavyweights like The Alchemist over inventively sampled beats or spitting with lesser-known talents like RichGains and WhoTheHellIsCarlo, Boldy James can’t help but thrive over quality instrumentals. Coming off a string of near-monthly releases with producers ranging from Conductor Williams to Harry Fraud, the versatile Griselda affiliate delivers once more with his second project of 2025, *Permanent Ink*. Recorded with fellow Detroiter Roger Goodman of Royal House, the 13-track effort showcases a specific set of skills applied to yet another sonic side of the genre, one simultaneously more commercial and authentically regional. His street lingo backed up by street smarts, he brings intimate knowledge of the game on cuts like “All On My Side” and “It Hit Different,” mixing business with pleasure as is his wont. “Gargoyle Pelle” and “Stop Signs & Yields” blend him overtly into his city’s distinct palette of sounds, his hustler’s joy and survivor’s pain blurred throughout.

Album • Jan 24 / 2025
Singer-Songwriter Art Rock
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Album • Jan 24 / 2025
Singer-Songwriter Chamber Folk
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Album • Jan 24 / 2025
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Album • Jan 24 / 2025
Post-Metal
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Album • Jan 24 / 2025
Post-Punk Industrial Rock Noise Rock
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Album • Jan 24 / 2025
Americana Country Rock
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Album • Jan 24 / 2025
Stoner Rock Alternative Rock
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Album • Jan 24 / 2025
Indie Pop
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Album • Jan 24 / 2025
Folktronica
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Album • Jan 24 / 2025
Neo-Pagan Folk Dark Folk
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On their sixth studio album, mystical Norwegian folk troupe Wardruna conjure a song cycle about the she-bear, or Birna. “Bears are an absolutely fascinating species, and it’s easy to understand why they have become such an important part of folklore in certain types of culture—in fairy tales, in lullabies, and in star signs,” Wardruna’s songwriter, co-vocalist, and multi-instrumentalist Einar Selvik tells Apple Music. “Why I chose the she-bear rather than the male bear is the fact that their annual rhythm mirrors completely the rhythm of Mother Earth in a way—the cyclic turns of life, death, and regeneration. That’s the story I wanted to tell on this record.” Since 2003, Selvik and his musical partner and co-vocalist Lindy-Fay Hella—along with an ever-expanding cast of backing musicians—have used Old Norse language and ancient traditional instruments to channel the majesty of the natural world. “Giving voice to the wild, I think, is important,” Selvik says. “I think a lot of us feel a deeper and deeper void between us and our surroundings. To be living so removed from nature, from the cycles of the Earth, is not healthy. But our society doesn’t really allow us to follow the rhythm of the seasons. We tend to have one tempo year-round; we eat everything year-round, neglecting the fact that we are cyclic beings. That’s one of the things bears can teach us. And not only bears, but nature: They help us remember that we’re part of something.” Below, Selvik discusses each song on *Birna*. **“Hertan”** “Hertan is the proto-Scandinavian word for ‘heart,’ and that is where we start this journey—with the pulse that beats in everything and that governs all of these movements within ourselves, and also in nature in various forms and beings. That’s, of course, the physical heart, but then you also have the metaphorical heart, the ship of emotion. That is what counsels our decisions and choices here in life and our emotions. It takes us through one of these cycles of death and rebirth. In enduring that process, we understand it and see it clearly, these movements and patterns and our place in them.” **“Birna”** “The word means ‘she-bear.’ It is a track that represents a dialogue between man and she-bear. It’s written in a playful way, like many of the old bear songs from traditions where there are a lot of bears in their culture. It addresses the somewhat problematic relationship we have had with bears throughout time. It acknowledges that our path together has been a tangled one. And then, the she-bear asks to lend its hide, which is something that has been used ceremonially or in many traditions to borrow the bear’s strength, to borrow its courage or whatever skill. It is said that bears have the strength of 12 men and the wits of 10, and that is often the skills we wanted to learn from them.” **“Ljos til Jord”** “Here, we start at the summer solstice, and we follow the bear’s movement towards the den. We see the birds migrate, we see the salmon swim upstream in the river to spawn where they were born and then die. All of these movements we see in nature. It is written in the lyrics that it’s almost like every year we’re invited to this wonderful, luscious feast, but at some point, the hostess of the party leaves, and we’re left to gather what we can to survive until she returns in spring.” **“Dvaledraumar”** “It means ‘Dormant Dreams,’ and this, of course, is the hibernation. The bear doesn’t really hibernate, per definition—it goes into a semi-hibernating state where it lowers its heart rate to between eight and 10 beats per minute. I chose nine beats per minute for conceptual reasons, and that is the pulse that leads you through this 15-minute dreamscape. The sounds you hear—they’re almost whalelike—they come from a lake that freezes in a very specific way in wintertime. We were lucky to have Jonna Jinton, the Swedish artist who has been recording these singing ice lakes for several years now, collaborating on this song with both the field recordings and some vocals toward the end.” **“Jord til Ljos”** “This was made as one track with ‘Dvaledraumar,’ and the title means ‘Earth to Light’ or ‘Womb to Light.’ It follows the same pulse as ‘Dvaledraumar,’ with the same instrumentation in a way, but it subtly transforms as the den is becoming smaller and smaller, and the birds are singing. It’s time to wake up and enter spring, to enter the life cycle of the year.” **“Himinndotter”** “This is the emergence of spring, but also coming into light, or enlightenment. You have journeyed together with this bear through this cycle. It’s a song very much about seeing these movements and cyclic patterns that we are a part of and realizing the repercussions of messing with these systems. It’s a lot about seeking connection, but also acknowledging that at this point, the shepherd of the forest—in this case, the bear—is no longer welcome in its homelands. The choir you hear is an all-female choir from Oslo, the Koret Artemis. They work a lot with traditional music from all over the world. I wanted it to feel like we’re in unison, that we are many people who think and feel the importance of this.” **“Hibjørnen”** “It means ‘The Den Bear,’ or ‘The Hibernator.’ It’s written as a lullaby because lullabies are very much connected to bears. Wherever there are bears, you have a lot of lullabies about bears because of their sleep. And the way they mother their cubs is so powerful. It’s the reason why we call some mothers ‘mother bear’ or ‘mama bear.’ Bears are badass moms. They give it all. So, it’s a lullaby from the bear’s perspective within the den.” **“Skuggehesten”** “It means ‘Shadow Horse,’ and we’re in the human realm again, not the bear realm. It’s basically a long set of metaphors and descriptions of when you’re in a dark place or when darkness rides you. It’s pretty aggressive in a way. At the same time, it’s emotional. It’s the type of song I really recommend you have a look at the lyrics. It, of course, is best if you know the original language because it’s not as poetic in the translation, but we always include English translations in our booklets.” **“Tretale”** “It means ‘The Voice of Trees.’ It’s basically a song about how your surroundings speak to you—or through you, potentially—if you listen. It’s the type of voice that whispers silently in your ear. You can’t necessarily hear it externally, but it speaks through you from within. A lot of the sounds you hear in the song, it’s me out in the forest shaking big and small trees, scraping on the bark of many different trees and twigs and all sorts of things—and the wind in many different types of leaves. So, the soundscape is very much trees. Trees and instruments, of course.” **“Lyfjaberg”** “It means ‘The Healing Mountain,’ and this song came out a few years ago. It was made after the last album was finished, but as a result of us having to postpone the record \[due to the COVID-19 pandemic\], that is why we released the song \[in 2020\]. We really wanted to release music, and a lot of people were waiting. We know Lyfjaberg from the old myths and the old Eddic poetry as a mythical place where, if you were able to climb this mountain, you would be healed of all your illnesses. So, the song contains incantations and ancient healing spells. And climbing a mountain is a very good metaphor also for fighting difficult things in your life. The core of it is that anything of true value comes at a true cost. You won’t reach the top of the mountain without walking uphill.”

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Album • Jan 24 / 2025
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Jan 24 - Fri, Jan 17

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Album • Jan 17 / 2025
Jazz Rap Neo-Soul Abstract Hip Hop Neo-Psychedelia
Popular Highly Rated

Posthumous rap albums can often feel opportunistic: indiscriminate grab bags cobbled together for one last payday. But *Balloonerism*—the second album from the beloved musician since his death in 2018, released two days ahead of what would have been his 33rd birthday—is far from an assemblage of cutting-room floor scraps. Culled from a single week of extended jam sessions (according to close collaborators), the album is considered to be Mac Miller’s “lost project,” recorded between his 2013 album *Watching Movies with the Sound Off* and his 2014 mixtape *Faces*—arguably the most pivotal year of his creative evolution. “It is a project that was of great importance to Malcolm, to the extent that he commissioned artwork for it,” read a statement from Miller’s estate confirming the official release in fall 2024, noting the unofficial bootleg versions that have circulated through the years. There’s only one voice besides Miller’s across *Balloonerism*’s 14 deep and dreamy tracks—that of SZA, his longtime friend, who appears on “DJ’s Chord Organ,” a heady track credited to Miller’s production alter ego Larry Fisherman that borrows a chord organ once belonging to lo-fi folk hero Daniel Johnston. Otherwise, Miller goes his own way, probing life’s great mysteries with modesty and good humor. The rattle of a tambourine echoes through the album, produced in part by Thundercat, as do Miller’s preoccupations with death as a concept, a puzzle, a voyeuristic spectacle, and, finally, life’s ultimate trip. “What does death feel like?” he wonders repeatedly on “Rick’s Piano,” believed to have been recorded at Rick Rubin’s Shangri-La studio. And on the hushed and haunting epic “Tomorrow Will Never Know,” he looks down at himself from a distant God’s-eye view and arrives at the enlightened conclusion: “Living and dying are one and the same.”

Album • Jan 17 / 2025
Art Pop Art Rock
Popular Highly Rated

Tamara Lindeman’s music as The Weather Station seems to expand and contract with every movement. The long-running project broke through in 2021 as fifth album *Ignorance* grew her folk-rock milieu to encompass the sounds of sophisti-pop acts like The Blue Nile and Prefab Sprout, while 2022’s companion record *How Is It That I Should Look at the Stars* pared back her arrangements to nearly nothing. On her seventh album, *Humanhood*, Lindeman has blown up her sound yet again: Alongside the nocturnal vibe she so expertly cultivated across *Ignorance*, these 13 tracks—initially recorded straight to tape over the course of two improvisational sessions in late 2023—encompass freewheeling ’60s psychedelic pop, darkly shaded jazz, and flurries of spoken-word sound collage. Joining her trusty supporting players from the *Ignorance* sessions is a who’s who of left-field sounds, including orchestral-folk auteur Sam Amidon and ambient-saxophone jazz sensation Sam Gendel. At the center of it all, Lindeman’s ability to pull back and let silence briefly reign remains as breathtaking as her most acrobatic vocal moments. Her lyrical focus picks up from where she left off on the previous two Weather Station records, pivoting specifically from the encroaching threat of climate change towards an episode of depersonalization she experienced while contemplating the world’s ever-evolving ills. What results is an album that’s contemplative and soul-searching, as Lindeman avoids finding easy answers and instead seems to channel her thought process in real time. “I don’t know quite where to begin,” she sings over the brushed drums and elegiac piano of *Humanhood*’s quietly devastating closer, “Sewing.” “I know it don’t look like I’m doing anything.” Quite the opposite, in fact.

Album • Jan 17 / 2025
Cloud Rap
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Album • Jan 17 / 2025
Dance-Pop House Electropop
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For Rose Gray, the club has always represented freedom. “If you’re going to the right places, all inhibitions are dropped and no one cares what you do,” the East London-born singer-songwriter tells Apple Music. “There’s something primal about lots of people in a room listening to heavy drums.” Gray would know. Ever since her late teens, she’s spent every available moment immersed in nightlife, building a community of go-go dancers, promoters, and DJs who not only love clubbing but respect it, too. The music she makes is similarly reverent: scooping into the vast melting pot of dance music, she welds together everything from *Screamadelica*-inspired acid house, delectable nu-disco, subterranean future garage, and psychedelic trance. “I think there’s a real bond with anyone that makes dance music that means you’re allowed to take and borrow sounds and melodies and it’s celebrated,” she says. With this debut album, though, Gray set out to refine a sound that felt her own. Inspired by pop icons such as Kylie Minogue, Robyn, and *Ray of Light*-era Madonna, she recruited some best-in-biz collaborators, including songwriting master Justin Tranter, who signed Gray to their publishing house, Sega Bodega, Sam Homaee, Zhone, Sur Back, Uffie, and Alex Metric. The result is *Louder, Please*, a euphoric and chest-achingly candid distillation of British club culture and turn-of-the-millennium pop. “I had to really grab that sound by the horns,” Gray says. “I think this record is the most pop out of anything that I’ve done. I was like, ‘Yeah, I’m ready to do this.’” The album title itself is another representation of Gray’s personality. “I’ve probably grown up being dangerously obsessed with loud music,” she says. “But the ‘please’ at the end is very me. I’m quite maximalist and I can be brash, but I will always be polite, which I think feels like some of the record. It’s heavy, but there’s a sweetness to it.” Read on for Rose Gray’s track-by-track guide to *Louder, Please*. **“Damn”** “I was writing with \[The Blessed Madonna collaborator\] Pat Alvarez and Caitlin Stubbs \[Dom Dolla, Bebe Rexha\]. We’d actually written a completely different song, but it went into this quite industrial techno record. The song is basically a stream of consciousness of me just blurting out all the things I do to keep myself sane. It has this introduction energy, to me. It feels like, ‘I have arrived.’ It’s maximalist and in your face. Also, if you pick apart the lyrics, there are Easter eggs to other songs on the album.” **“Free”** “I don’t like the word ‘spiritual,’ but this song feels connected. I was in LA when I wrote it and, lyrically, I definitely wanted to play on this idea that you might have everything, but really what matters is how you feel in yourself. I used to get goosebumps when I listened to it. It feels a bit more grounded than the rest of the album. I like that it comes after ‘Damn’ because it’s like the devil and then the angel as I bring in the sweet-summer, window-down, sun-kissing-your-skin vibes.” **“Wet & Wild”** “I’ve had moments, more so when I was a little bit younger, of leaving the club in a drunken state in a bit of a mic-drop moment. Maybe you’ve had a row or maybe the guy you’re with is flirting with someone else. So you’re just out the club, maybe you’re crying and sort of expecting your group of friends to know that you’ve left and want them to follow you. But that doesn’t happen because everyone’s having a great night and just thinks you’ve gone to the toilet or something. That’s what ‘Wet & Wild’ means. It’s a bit of an eff you! I’m going to run in the streets of the city, feel myself, and have a little cry.” **“Just Two”** “I worked on this song with Uffie, who has become a very good friend. I think she’s the coolest human ever. I’m in awe of her. I had actually written the chorus of the melody and had that on my phone, but I wanted to do something upbeat and have really ’90s chords. Having Uffie in the room just shaped it to become a little bit more underground. Lyrically, the song is about how, when you’ve found your person, there’s nothing better than being with them and sharing a life with them and all the things that you do just for a kiss. It’s quite cheeky.” **“Tectonic”** “I’m in a relationship with someone who is away a lot, and I wanted to use nature to describe that feeling of separation. I feel like we are connected, but when we’re away from each other, there’s a crashing of tectonic plates. I really enjoy the soundscape. Alex Metric, who I wrote it with, is such a little tech wizard that he has a lot of these synths from the ’90s. I think he actually bought some stuff off of William Orbit, who produced *Ray of Light*, which is one of my favorite albums ever. I could make a whole album in the world of this song.” **“Party People”** “Writing this song was a whirlwind. I met Sega Bodega a few times and he said I should come to Paris to write with him. People say they want to work with you, and it’s like, ‘Is it actually happening?’ We wrote three songs, including ‘Party People.’ It’s kind of a nursery rhyme. I feel like I am surrounded by party people and I’m fascinated by them, honestly. I have this group of friends, and if they were living in the late ’80s and ’90s, they would’ve been at every rave. I based the song on them and how they’re all very free. I think ‘Party People’ feels like I’m sat on the edges of a club or at some warehouse and I’m watching everything that’s happening. I’m obsessed with people that party.” **“Angel of Satisfaction”** “For the last couple of years, I’ve seen real success happen to friends. I’ve been at these industry things and you see the people that you grew up idolizing and who, in my eyes, have made it. And then I just always think, ‘Is that really what I want?’ There are a lot of questions I’m always asking myself. I definitely think that there are very healthy ways of doing it. But it’s quite a scary world out there. I wanted to create a song that was my debate on that subject, and I did have some sort of visualization of it in a dream. I explained that to Justin Tranter, and they were able to help make it digestible. In the end, we wrote it very quickly.” **“Switch”** “This song was written the first time I worked with Justin. It felt like things were aligning for me, and I felt a sort of switch personally that I had become the artist I envisioned I’d become as a 17-year-old. I just said, ‘I feel like things are really switching up for me.’ I knew that ‘switch’ was a great lyric. Justin and I talked for quite a while about what switch can mean, and we formed the song. I remember when I first wrote it, I thought it sounded like a game: bouncy, fun, candyfloss pop, but also quite sexy and hot if you look at the lyrics.” **“Hackney Wick”** “With this song, we had made the instrumental kind of roughly what it is now. I was trying lots of different vocal things on it and they just weren’t working. Then I said, ‘Can I just talk about some nights out on the mic?’ I used to go to these mad parties in Hackney Wick. We’d go from one party to the next, and then you’re on the canal and you’re having a beer and then you’re cuddling someone and the sun’s coming up. It was just such a fun time. I just felt the music really captures the energy of Hackney Wick. Then Caroline Sur Back \[Caroline Sans, aka experimental pop artist Sur Back\] created this beautiful string section, and I was like, ‘Why not? Why can it not now go into something really ethereal and romantic?’ That’s kind of how I feel about that whole time in my life, really.” **“First”** “I’m a very competitive person. Painfully competitive, in fact. I’ve got so much Capricorn in me and I’m working on it, but I’m always at the starting line, ready to go, and that kind of falls into relationships as well. It’s not a personal thing and I notice it with couples where they’re often competing with each other. I wanted to try and capture that in a song. I really enjoy the production. It’s another sprinkle of drum ’n’ bass. It’s a bit garage-y. I feel like the middle eight goes a bit dubstep.” **“Everything Changes (But I Won’t)”** “Obviously, I absolutely love the club, but there’s a whole side of me that’s very alternative and listens to lots of different music. I wanted to have at least one song that was bringing you down. I have probably been in love with the same person for most of my adult life. It’s very interesting growing up with someone and seeing us both change so much, yet still kind of remain the same. I would say that this is the only complete love song on the album. I wanted to create the feeling of me being in the middle of a storm where so much is happening around me, but I’m still very much grounded. I remember when Sean Wasabi, the producer, played the synth loop. I was like, ‘Wow, that really captures that feeling.’” **“Louder, Please”** “I created this with Caroline. I had written a song called ‘Louder’ that I really enjoyed the chorus for, and then I sung it through on a vocoder, just with piano. We sent it to Caroline with a few references, and, honestly, she sent back basically what the song is now. Similar to how ‘Damn’ was like an introduction, this feels like a closing. It’s like a warm hug. I got my little cousin, who, bless her, is just like a fairy, to say, ‘Can you play it a little louder, please?’ It felt cathartic to finish the album with a child’s voice. I think underneath it all, I just remember being little and asking my dad to play music louder.”

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Album • Jan 17 / 2025
Electropop
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Ela Minus’ second album, *DÍA*, takes a massive leap when it comes to the sheer size of the Colombian producer and songwriter’s music. Her 2020 breakout debut, *acts of rebellion*, felt like someone communicating electronic pop to you in secret, with warm analog synth squiggles and a delightfully brittle feel, not unlike coldwave’s minimalist steeliness or the punkish, romantic sound of ’80s synth-pop. On *DÍA*, Minus cranks up her stylistic tics to max volume: The synths crash like monsoons, and her voice soars above the music instead of lying in wait in the shadows. The saucer-eyed wobbles of opener “ABRIR MONTE” immediately recall the lush rave waves of Jamie xx’s “Gosh,” while “ONWARDS” conjures peak-era electroclash, right down to Minus’ excellently disaffected and cool-to-the-touch vocal take. At times, *DÍA* also feels like a modern update of the icy, gothic synth-pop that Swedish duo The Knife first perfected on their 2006 album *Silent Shout*. The swooning tones and static bursts of “IDK” tackle feelings of anxiety head-on, while “I WANT TO BE BETTER” is riddled with self-doubt and regret, a hand reaching across the void toward past acquaintances. The feelings feel real; the imagery is corporeal and thoroughly sanguine—the latter quite literally over the serpentine synths of “IDOLS”: “All it took/Was a little blood/To see what I’m really made of.”

Album • Jan 17 / 2025
Indie Pop
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EP • Jan 17 / 2025
Boom Bap East Coast Hip Hop
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Album • Jan 17 / 2025
Songhai Music
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Album • Jan 17 / 2025
Singer-Songwriter
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Album • Jan 17 / 2025
Bedroom Pop Indietronica
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Album • Jan 17 / 2025
Ambient Americana Chamber Folk
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Album • Jan 17 / 2025
Folk Pop
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Album • Jan 17 / 2025
Swancore
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