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Rosalía Announces New Album Lux
Music

Rosalía Announces New Album Lux

by jummy84
written by jummy84

Following a smattering of billboard and poster teasers around the world, Rosalía has announced her new album—and it arrives in less than a month. Lux, the Spanish pop star’s fourth studio album, will be released November 7 via Columbia. Details on the follow-up to 2022’s Motomami are otherwise scarce, but you can check out the album cover below.

Following the release of Motomami, Rosalía embarked on a world tour behind the Grammy-winning album and released a deluxe edition. In the years since, she has also appeared as a guest artist on several collaborations: She joined forces with Björk, for “Oral”; Blackpink’s Lisa, for “New Woman”; and Ralphie Choo, for “Omega.” She also released an EP with her then-fiance Rauw Alejandro in 2023. More recently, Rosalía was announced as a cast member in the upcoming third season of HBO’s Euphoria, set to premiere in 2026.

Revisit the interview “Work Hard, Play Hard: How Rosalía Makes Her Music.”

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Lily Allen Releasing First New Album in 7 Years, West End Girl, This Week
Music

Lily Allen Releasing First New Album in 7 Years, West End Girl, This Week

by jummy84
written by jummy84

Lily Allen has announced her first album in seven years: West End Girl is out this Friday, October 24, via BMG. Its 14 songs were mostly written by Allen and her musical director, Blue May, and the pair executive-produced the LP alongside Seb Chew and Kito. Below, check out Spanish artist Nieves González’s cover art.

In a press release, Allen said, “I’m nervous. The record is vulnerable in a way that my music perhaps hasn’t been before—certainly not over the course of a whole album. I’ve tried to document my life in a new city and the events that led me to where I am in my life now. At the same time, I’ve used shared experiences as the basis for songs which try to delve into why we humans behave as we do, so the record is a mixture of fact and fiction which I hope serves as a reminder of how stoic yet also how frail we humans can be. In that respect I think it’s very much an album about the complexities of relationships and how we all navigate them. It’s a story…”

Since her last album, 2018’s No Shame, Allen has appeared in various West End London theater productions and co-founded the podcast Miss Me.

© Jose Albornoz

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Silvana Estrada: Vendrán Suaves Lluvias Album Review
Music

Silvana Estrada: Vendrán Suaves Lluvias Album Review

by jummy84
written by jummy84

The wordless moments are often the ones that come closest to touching the sublime. (At album’s end, language itself dissolves: In the final minute of the closing “El Alma Mía,” she abandons words in favor of a hummed melody.) Before the cuatro venezolano comes in, “Dime” begins with plaintive clarinets and horns, and then Estrada’s own plea, begging certainty of a lover who might stay or go. A dynamic string arrangement from Owen Pallett expands the first riff into a backdrop against which words are only incidental. Motion is the only constant; within it, a new movement begins in the music, and Estrada finds action: “Por todas las flores que arrancaste/Y todos los versos por salvar/Déjame al menos alejarme/Que yo te quiero y te quiero olvidar” (“For all the flowers you uprooted/And all the verses yet to save/At least let me turn away/For I love you and would love to forget you”).

The sadness shifts into a slow-burning anger on “Good Luck, Good Night,” a simmering bolero that luxuriates in the cabaret drama of the moment you decide you also get to be mad. “Pensé que tu cantar/Era tormenta/Era flores/Era fiesta/Melodías de una orquesta…/Que hace llorar,” she sings of a fickle partner (“I thought your song/Was a storm/Was flowers/Was celebration/The melodies of an orchestra…/That draws tears”). Anger is a profound way to feel less alone, and Estrada’s languorous “llorar” almost demands to be sung back by a roomful of accomplices—in the mode of the “lloraaar y llorar” that always echoes Vicente Fernández’s “El Rey,” and of so many other rancheras and boleros that have drawn blood in crowded bars.

The grief often keeps the room empty. In “Un Rayo de Luz,” Estrada couples spare motifs like a Hopper painting—a ray of light entering an empty room, night falling, the sea wrapped in sighs—with the same conclusion: “Devuélvanme a mis amigos” (“Give me back my friends”). Vargas’ words return in reminder: “¿Cómo será de hermosa la muerte que nadie ha vuelto de allá?” Estrada replies: “¿Cómo será de frágil la suerte que siempre elegimos amar?” (“How fragile must our luck be that we always choose to love?”)

Well, how? At a recent album listening event, Estrada explained her invocation of Sara Teasdale’s poem “There Will Come Soft Rains” in the album title and in the record itself (and, in translation, with a surer, more solid verb). She describes it as “this realistic feeling of hope”—“a superreal promise” that “softness is going to come somehow.” It just does.

There is no shortage of writing about death or loss. Part of what makes people like Chavela Vargas canonized keepers of the subject in Latin America, songwriters that transcend time and space in cultural memory, isn’t knowledge, but a powerful capacity to listen. We are not smarter, faster, or more eloquent than its silence.

And yet some words are still worth repeating. “No te vayas sin saber/Que yo te quiero y siempre te querré,” Estrada sings on the song of the same title (“Don’t leave without knowing/That I love you and I always will”). It’s an intuitive hope that in an unknowable universe, there are things we do know, and it is our mission to say them out loud.

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Ian Thornley on Big Wreck’s new album and 30 years in the music business - National
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Ian Thornley on Big Wreck’s new album and 30 years in the music business – National

by jummy84
written by jummy84

Ian Thornley has been leading Big Wreck on and off (mostly on) for more than 30 years now. Founded in Boston by some Berklee College of Music students in 1992, Thornley brought the band back to Toronto and had an excellent run that stretched from 1997 to 2o03. Then came a breakup, a solo career with three more albums, and finally a reunion in 2010, which resulted in five more albums. A sixth, The Rest of the Story, is coming to stores on Oct. 24.

I had a chance to speak with Thornley from his home studio.

Alan Cross: You’re now more than 30 years into a full-time music career. Did you ever imagine this would be the case?

Ian Thornley: Well, I didn’t imagine it wouldn’t be the case, but I never thought that far ahead, to be honest with you. I never thought I’d still be grinding 30 years in. I didn’t think it would still be fistfights in the mud to scratch out a living. If I had thought of it back then, I would have thought I’d be moving on to producing other people and doing other projects — music for film, or something like that.

Going on the road now is a little more difficult each year, and staying out for extended periods of time. We have a little guy at home now, and my daughter has grown. It gets harder being away from home, and sleeping on a bus is difficult. But I still adore music. I’m still obsessed with it. And I’m trying to get better at it. Any way I can keep practising music and keep doing it for a living, I’m gonna do it.

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AC: The first Big Wreck album (In Loving Memory Of…) came out in 1997, right at the tail-end of the golden age of the compact disc. Everything about the business has changed since then. Loaded question: How have you adjusted?

IT: It’s not like we were really successful and really loaded and had a bunch of money and then someone suddenly turned the tap off. Our main source of income has always been the road, playing as many shows as we can. We sold a bunch of that first record just before people stopped buying records. I’ve since adjusted my expectations. I think a lot of musicians my age who lived through that, there’s a shot you gotta take. It’s a big piece of humble pie when all the bands that were just before us that really hit — they’re still out there playing shows, whereas we… Well, the last couple of years, we’ve been slowly growing back up again.

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Having said that, there was something kind of freeing about it because I didn’t have to serve a master. I didn’t have to keep rewriting (Big Wreck hits like) That Song or The Oaf. I don’t have to bow to any previous expectations about what Big Wreck means.

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AC: How has your approach and sound changed over all those albums?

IT: I think it’s become more refined. The process is still the same. There are little shortcuts that we can employ now, like my phone. I can hum something into my phone when something just falls in my lap, and I’m, “OK, that’s something.” Sometimes I’ll sit here on the computer and start mapping a song out, or sometimes I’ll just record something on my phone and leave little breadcrumbs to visit later. But it’s still waiting for a drop of inspiration. And then you craft it.


As craftsmen, I think we’ve gotten better. I think I’ve gotten better. And I’m better at recognizing a good idea from a not-so-great one. Back in the old days, a lot of the ideas I’d stumble on would turn into something different in the garage the next day when we started beating it around. Sometimes, though, the inspiration can get blurry, lost, when you start pushing it in whatever direction. And then you end up laying it down and you say, “No, I don’t think this is gonna work.”

AC: How much time do you spend chasing that guitar tone you hear in your head?

IT: It’s part and parcel with the chase for the perfect chorus or the perfect verse, a grouping of words, a grouping of notes. The things that make your hairs stand up and give you chills. Today, I think it’s all about the silly rhyme and “Ooo, that was a good hook.” It’s not about all the things that keep me up at night, which are things like the guitar tone. I think it’s all important. Half the juice going into the studio and recording is that, because that can often inspire a different part, or how a phrase gets laid down. Most musicians are reactive and you react to what you’re hearing.

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Same thing with a microphone and an effect you put on your vocal. You’ll sing different, treat the mic differently, depending on what’s going on. If you move a mic a centimetre (one way or the other) in front of an amplifier, it changes the sound drastically. Every once in a while you trip over some magic. There’s no plug-in for that. There’s no app.

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AC: This album, The Rest of the Story, was recorded at Noble Studios in Toronto, which is a really good studio.

IT: We got lucky. We were going to release three EPs but then decided to do one EP and a full album. We booked the studio for two weeks to get basic tracks for 17 or 18 songs. But Dave (McMilliam, bass) and Sekou (Lumumba, drums) go through their tracks in about five days. Nick (Raskulinecz, producer) said, “You’re going to need to get a truck to get your guitars and amps down here because we’re going to get to use all these goodies.” We ended up cutting a lot of guitars there.

AC: Why is the album called The Rest of the Story?

IT: I just figured it was a good tie-in to Pages, the EP that preceded this. We were going to have Pages 1, Pages 2 and Pages 3, but it became an entity unto itself.

AC: Any surprises?

IT: The surprises are something that happens every single day while you’re in the studio. That’s why I’m the first one in and the last one to leave. And the good stuff starts to happen when someone says, “What if…?”

AC: What’s next?

IT: We gave a few shows on the books for the rest of the year and we’re heading out the first quarter of next year. We’re going out with Live Across Canada, which should be fun. I don’t think we’ve played with them before. And we have some other ideas that we’re discussing as well.

The Rest of the Story is out Oct. 24. This interview was condensed and lightly edited for clarity.

&copy 2025 Global News, a division of Corus Entertainment Inc.

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Stan Getz / João Gilberto: Getz/Gilberto Album Review
Music

Stan Getz / João Gilberto: Getz/Gilberto Album Review

by jummy84
written by jummy84

At a 1976 concert featuring American saxophone superstar Stan Getz and Brazilian singer and guitarist João Gilberto, Getz welcomed his partner to the stage in a tone of voice that reveals just how gobsmacked he remained by his genius. “The most individual singer of our time, a true originator,” he enthused. “His curious ability to sing warmly without a vibrato, his impeccable and inimitable rhythmic sense, his intimacy, all coupled to his wonderful guitar work, make him unique.” If that sounds dry, Miles Davis put it so: “Gilberto could sound seductive reading aloud from the Wall Street Journal.”

Despite being in close proximity to João Gilberto for over a decade by that point—onstage and in the studio—Getz is forever mystified by Gilberto: his voice, his attenuated pitch, his rhythmic sense, the space within the music that he birthed, bossa nova. And in a decade of increasingly louder and louder musical revolutions, Gilberto sat at the center of the most hushed one of all, now mistakenly perceived as quaint elevator music instead of the sophisticated and subtle paradigm shift that bossa nova actually was, a marriage between Afro-Brazilian rhythm and intricate Eurocentric harmonic concepts.

In 1964, Getz and Gilberto brought bossa nova to the American masses with their collaborative album Getz/Gilberto, and then the rest of the world, though everyone was well behind what had already transpired in Brazil—the modern equivalent of finding out the hottest sound in China is “Old Town Road”. When Gilberto cut his first solo record, Chega De Saudade, in Brazil in 1959, it ignited a flame in that country, a revolution in samba that completely transformed Brazilian music. “The kids could see themselves in that music,” Ruy Castro noted in his history of the music, Bossa Nova. Gilberto was an enigmatic singer, a subtle rhythmic player, and a lowkey guitar god, inspiring a new generation to sing and pick up a guitar, while gratefully also ending Brazil’s national obsession with the accordion. At home, Gilberto was an icon. “I owe João Gilberto everything I am today,” Caetano Veloso said. “Even if I were something else and not a musician, I would say that I owe him everything.”

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Carly Rae Jepsen: E•mo•tion (10th Anniversary Edition) Album Review
Music

Carly Rae Jepsen: E•mo•tion (10th Anniversary Edition) Album Review

by jummy84
written by jummy84

In the summer of 2015, Carly Rae Jepsen was looking to the future: “My desire now,” she told an interviewer, “is to see how far I can stretch pop.” Her latest moves had evolved from the good-enough charm of Kiss—the album that contained her unexpectedly planet-dominating hit “Call Me Maybe”—into glossier, vintage-inspired territory: gated drums, squealing synths, a couple saxophone solos. ’80s pop rehashed for the new millennium feels staid in its omnipresence today—but remember when it actually felt like a bold new idea, when embracing that moment, in all its schmaltz and sentiment, could represent a genuinely surprising artistic turn?

The first step in claiming Jepsen’s future was E•mo•tion, a record of diamond-sharp songs—now a decade old, re-released as a deluxe 10th anniversary edition. In countless interviews, she has rejected the notion that pop music—hers or anyone else’s—ought to be considered a “guilty pleasure,” and E•mo•tion is, fittingly, a record of full-on pleasure: unselfconscious, effervescent, no irony to be found. These are songs about big feelings, matched by big-budget production, evincing a shameless devotion to pure pop: uptempo, tightly structured, stuffed with singable hooks and lyrics that don’t exactly hold up perfectly under scrutiny yet nonetheless scan as immediately relatable. “Run Away With Me” is the aural equivalent of a confetti cannon, the sonic translation of the way a crush makes you feel invincible. “Boy Problems” is neon and buoyant with its groovy bassline, chorus of na na nas, and percussion stabs like the kind of text you send with 15 exclamation marks. The exceptions to the bubblegum bangers formula are equally rewarding: The brooding, breathy “Warm Blood” and the poised ballad “All That” gently widen Jepsen’s sound without becoming a distraction.

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Kylie Jenner says she wants to release an album after making music debut as King Kylie
Music

Kylie Jenner says she wants to release an album after making music debut as King Kylie

by jummy84
written by jummy84

Kylie Jenner says she’s interested in releasing an album.

  • READ MORE: Who Are Terror Jr, The Mysterious Pop Trio Rumoured To Be Fronted By Kylie Jenner?

The reality TV star made her official music debut earlier this week, teaming up with Terror Jr for a new song to celebrate the 10th anniversary of her beauty brand, Kylie Cosmetics.

Since the release of the track, Jenner has also set up profiles on Spotify and Apple Music as King Kylie – her famous moniker from the 2010s.

The track, ‘Fourth Strike’, sees Jenner make a cameo in the bridge of the track, singing: “One strike, two strike, let me get the mood right / I just wanna tell you, ‘I’m sorry’ / Touch me, baby, tell me I’m your baby. Write your name all over my body / Cross the line, I might do it again / Do it on purpose just to see how it ends / King Kylie.”

Now, in a new video discussing the song, Jenner has said that releasing music has always been her “dream”.

“I’ve been talking about this since I came out of the womb,” she said. “I wanted to be a pop star — or, I don’t know what I am. But I just never had the confidence.

“I always wanted to try to see if I can do it,” she continued. “The first recording session I was really nervous. I had, like three margaritas — or vodka sodas, actually.”

“I don’t think I’m like Adele or anything,” she added, before commenting on whether she’ll continue to make music. “I hope so. I would love to try … I don’t want it to end. And I think, why not? I think we should try. Let’s like, make an album.”

Anticipation for Jenner’s first real foray into music has been building since 2016, when she launched a campaign for a new range of lip glosses from her beauty brand, Kylie Cosmetics.

In the ad, she played a getaway driver in a Spring Breakers-style scenario, in which three gun-yielding young women cheat some gangsters out of a bag of money in the middle of the desert.

The commercial made headlines for the song used in the background, which was ‘3 Strikes’ – a debut single from a pop group called Terror Jr. At the time, there was little information about the band, leading fans to speculate that the singer was actually Jenner.

Later, it was revealed that the group was actually comprised of former The Cataracs band members David “Campa” Benjamin Singer-Vine, Lisa Vitale, and Felix Snow.

The new campaign sees the story continue, with Jenner in an interrogation room being grilled by detectives. “We’ve got you on multiple counts of being the baddest bitch on Earth, slaying 24/7, just being an all-around impressive young lady,” they tell her.

Later, she’s released, and her mother, Kris Jenner, is waiting to pick her up in a Rolls-Royce with a glove compartment full of the upcoming Kylie Cosmetics lip gloss launch.

It marks the first official music release from Jenner, though in 2016 she did make a brief cameo on the track ‘Beautiful Day’ from producer Burberry Perry.

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Sad Artist Or Just Relatable? Rod Wave Sparks Debate After Saying He No Longer Wants the “Sad Artist” Label (VIDEO)
Celebrity News

Rod Wave Clears Up “Sad Artist” Label While Teasing New Album

by jummy84
written by jummy84

Rod Wave, widely known for pouring raw emotion and pain into his music, has sparked yet another debate online. If you remember back in 2022, he told fans that ‘Beautiful Minds’ would be his last “sad” album.  Since then, he’s dropped three more bodies of work, each showing growth, new vibes, and deeper storytelling. Now, social media is buzzing about whether Rod Wave is truly a “sad artist” or just one of the most relatable voices of his generation.

RELATED: Rod Wave Reportedly Sued After Being Accused Of Pocketing $27 Million From Incomplete ‘Last Lap’ Tour

Rod Wave Talks About Wanting To Move Past The “Sad Artist” Label 

On Friday, a clip of Rod Wave sitting down with The Joe Budden Podcast surfaced online. In the interview, the rapper shared that he no longer wants to be labeled as the “sad artist.” The conversation started when Joe Budden asked, “Pardon my ignorance, but do you have happy songs?”

Rod responded candidly, saying, “See, sh**like that make you be like, I don’t want to be the sad n***a. Every time I walk in the room, b****** be like, damn… I don’t wanna keep being the sad n***a.” He also explained that he’s hesitant to walk away from that sound completely, knowing many fans still connect deeply with his pain and feel like they need that from him.

Social Media Weighs In

Across social media, fans have joined in on the ongoing debate about the kind of music Rod Wave creates. While some listeners claim many of his songs lean toward the sad or depressing side, his loyal supporters were quick to step in. They made it clear that although Rod first blew up off emotional tracks, th

Instagram user @theteeta wrote, “It ain’t sad it’s just real, what else he gon talk about? Sliding and spinnin on opps and 505 how much money he got?? Don’t switch up….”

Instagram user @dontpaniccccc5 added, “Rod wave music is super relatable everyone go through things I don’t care how tough you think you are”

Instagram user @jassyblackgirl wrote, “His music not even sad fr yall just not listening HE A REAL ONE”

Then Instagram user @_bigtoy added, “It’s not sad, it’s healing”

Instagram user @banods_ wrote, “He blew up off sad music because that’s his passion and that want God is using him for. He says how a lot of pol be feeling but will never say.”

Instagram user @kdgdoji added, “Aint shit peaches and ice cream rn we need ts gang”

While X user @NasirAMubarak wrote, “why would he go on a podcast where nobody listens to him, bra has A LOT of happy/motivational songs”

X user @ZooFTG_XB wrote, “ “You’re not a real Rod Wave fan if you think the nigga only sings about being in sad times. Although that’s what we love from him. He has other bangers that don’t give a sad vibe. He’s also motivational. Got me off my feet a quite a few times with ALOT of his music”

X user @sayjuhnay added “Turks & Caicos, Smile, Get A Bag & Pressure just to name a few.”

Rod Wave Has A New Album On The Way

Despite what fans have to say, Rod Wave is letting is ready to let his music do the talking. Earlier this week, he dropped his new single “Leavin’” and announced dates for his upcoming Redemption Excellence Tour. But Rod didn’t stop there. he also took to Instagram with a photo dump captioned, “just turned my album in,” sending fans into a frenzy and fueling excitement for what’s next.

 

RELATED: Rod Wave Says After His Upcoming Album He’s Done Making Sad Music

What Do You Think Roomies?

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5 Takeaways From Tame Impala’s New Album Deadbeat
Music

5 Takeaways From Tame Impala’s New Album Deadbeat

by jummy84
written by jummy84

Tame Impala were once a record collector’s idea of a rock band. Then they were a rock band that was one guy and that one guy was also a record collector. 2015’s Currents took that proposition as far as it could go, and when Kevin Parker dropped “End of Summer” as the lead single from his fifth studio album, Deadbeat, something else became apparent: Every crate-digger eventually finds his way to the dancefloor.

Deadbeat is Parker’s electronic and dance album, but it’s also his new father album, as his first daughter was born the year after the pre-pandemic The Slow Rush. As such, he throws in some dadly nods to Family Guy and Pablo Escobar, while still treading familiar emotional territory for Tame Impala: jealousy, paralysis, and social anxiety. Parker digs into his psyche not necessarily through lyrics but by paying homage to the music he ostensibly loves, like Jeff Mills’ “The Bells” (“Not My World”), the Beatles (“See You on Monday”) and, apparently, DJ Khaled and Rihanna’s “Wild Thoughts” (“Obsolete”). Here are five takeaways from the album.

An Intimate, Unvarnished Opening

Deadbeat opens with a demo track of Parker singing over a house piano riff. It’s a meaningful gesture—stripping aside the glossy varnish of Currents and The Slow Rush, conjuring the image of Parker alone in a room, surrounded by the highest of high-end recording equipment. That piano, fuzzy with room sound, reappears as a motif throughout the album. Later, on the skeevy synth-funk single “Loser,” a murmured “fuck” wanders its way into the final mix, like the fossil record of an off-the-cuff earlier version. For an artist obsessed with craft, Parker has gotten more comfortable letting the seams show.

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Sudan Archives: The BPM Album Review
Music

Sudan Archives: The BPM Album Review

by jummy84
written by jummy84

The technology Sudan uses is scrappy, not cutting-edge—she employs a vintage toolkit of a Roland SP-404 and DAWs emulating the drum machines that defined 1980s Chicago house and ’90s Detroit techno. Collaborators include her twin sister, her cousins, and several friends from the Midwest. For all of its post-human imagination—Sudan’s alter-ago this time is “Gadget Girl,” a tech-augmented avatar—The BPM reaches deep into personal and cultural histories. Every few seconds, Sudan and her intimate cadre of producers jolt us from a 3 a.m. hypnosis with some acoustic or makeshift percussion over pounding kicks, a verse sliced with a breakbeat, or wordless, chopped-up backing vocals. The result is far more in touch with its feelings than its debaucherous veneer might suggest.

In the three years since her last album, Sudan broke up with a long-time partner. Having left behind both their shared house and the incense-scented bedroom atmospheres of her earlier oeuvre, Sudan reclaims herself and dance music’s confessional potential, merging Great Lakes hominess and booming arrangements that push toward the red. With the opening “Dead” and aching closer “Heaven Knows,” this is a breakup record that bleeds into the rebound period, smuggling liminality and angst inside a collection of bangers.

If The BPM sounds like the sort of album that might actually win over the mainstream, it’s also Sudan’s grittiest release, less pristine than the widescreen Natural Brown Prom Queen. And if that opus was sun-drenched, this is a wintry mix—all the more for its lyrical fantasies of fleeing to Costa Rica and Dubai. The bass is tectonic, the juxtapositions between short-lived melodies stark. Sudan’s violin parts are as rousing as ever, given breadth and texture by members of the Chicago string quartet D-Composed.

Yet she often tucks these accompaniments into the bridges, intros, and outros of songs, meaning they don’t provide the reckless release that they did in the past. Even an unexpected Irish jig in the center of “She’s Got Pain” only fuels The BPM’s pummelling energy, and later, “Ms. Pac Man” and the showstopping “Noire,” pull us into danker terrain. This dense, claustrophobic album is discomfitingly of the moment: Sudan’s characters sprint through these songs as though movement is a survival tactic, a way to push forward as the world presses down harder than ever.

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