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If you hear a track you like, add it to your library.","short":"Your regular fix of all things heavy and brutal."}}},{"id":"pl.6ce2df480c9d4eed81115f9c003ac55c","type":"playlists","href":"/v1/catalog/us/playlists/pl.6ce2df480c9d4eed81115f9c003ac55c?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features128/v4/b3/f3/2e/b3f32e38-3a51-3cc4-70a0-7c137f4ec918/source/{w}x{h}cc.jpeg","bgColor":"040404","textColor1":"fcfcfa","textColor2":"feb410","textColor3":"cacac9","textColor4":"cc910d"},"isChart":false,"url":"https://music.apple.com/us/playlist/future-sounds/pl.6ce2df480c9d4eed81115f9c003ac55c","lastModifiedDate":"2020-07-10T04:01:17Z","name":"Future Sounds","playlistType":"editorial","curatorName":"Apple Music Electronic","playParams":{"id":"pl.6ce2df480c9d4eed81115f9c003ac55c","kind":"playlist"},"description":{"standard":"Of all electronic music's various strains, this is where the vibes are—moody and textured, with irresistible basslines underneath and soaring toplines capping it off. Some of these songs lean toward the dance floor; others are straight-up horizontal. But all of them sound equally good alone or with a crew, whether pregaming or pre-dawning. Our editors regularly refresh this playlist. If you like a song, add it to your library. ","short":"Spine-tingling electronic vibes, with melodies that pop."}}}]},"room":{"data":[{"id":"978247996","type":"rooms","href":"/v1/editorial/us/rooms/978247996?l=en-US"}]}}},{"id":"976405703","type":"editorial-elements","attributes":{"displayStyle":"expanded","editorialElementKind":"326","emphasize":false,"supportedSorts":[],"doNotFilter":false,"featureFirstElement":false,"name":"New Music","type":"normal"},"relationships":{"contents":{"data":[{"id":"1522943749","type":"albums","href":"/v1/catalog/us/albums/1522943749?l=en-US","attributes":{"artwork":{"width":4500,"height":4500,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music114/v4/1c/76/a6/1c76a62d-992f-52d7-f86c-8b2e292b6518/20UMGIM58295.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"543763","textColor1":"fff9cb","textColor2":"f5bdb5","textColor3":"dcd2b6","textColor4":"d5a2a5"},"artistName":"Juice WRLD","isSingle":false,"url":"https://music.apple.com/us/album/legends-never-die/1522943749","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":21,"isMasteredForItunes":true,"releaseDate":"2020-07-10","name":"Legends Never Die","recordLabel":"Grade A Productions/Interscope Records","copyright":"Grade A Productions/Interscope Records; ℗ 2020 Grade A Productions, LLC, under exclusive license to Interscope Records","playParams":{"id":"1522943749","kind":"album"},"editorialNotes":{"standard":"It's not easy to listen to Legends Never Die. From the album's opening moments, which feature clips of the late Juice WRLD's voice in interviews and closing out a show, we're reminded that he wasn't the sum of the demons he exorcised in his songs; he wanted to be a positive force in a world that so often feels negative. “I love myself so much as far as the way I make music, the way God made me, the way God wired me to do the things that I do and to change the world the way that I can,” he says. At the time of his death, in December 2019 at the age of 21, the Chicago rapper had cemented himself as a bona fide star whose vulnerability on wax was transcendent. Here, on the first posthumous album since, he gains immortality.
\nThe unblinking candor that made Juice WRLD such a force comes full circle throughout the course of the project. Every revelation lands like a prophecy and every rare buoyant moment a light at the end of an endless tunnel. On wrenching songs like “Righteous” and “Fighting Demons,” when he explicitly battles with addiction as a means of coping and the ways in which material success is rarely ever salvation, the heart shatters all over again. But then there's others, like “Screw Juice” or “Man of the Year,” which find him urging listeners to use his battle as motivation: “Let's raise our hands, let's sing and dance,” he declares on the latter. “I know my lyrics saved you.” Elsewhere, the single “Life's a Mess”—which best captures his ability to connect with audiences far beyond the emo rap genre while remaining true to its essence—manages to sound triumphant in spite of itself, like a reason to fight on.
\nAs posthumous albums go, this one scans as true to the creative vision Juice WRLD cultivated for himself. His diaristic laments aren't sanitized or watered down in an attempt to mute the pain of his reality, and thus, under the circumstances, these songs feel especially brutal and honest. It's an effective eulogy that captures the charismatic artist as his fans had come to know him—complicated but hopeful. Despite the turmoil that plagues these lyrics being no different than those he released in his lifetime, one thing remains clear: Juice WRLD wanted to live. And with every elegiac confession, even from beyond the grave, he implores his fans to find ways to do the same.","short":"A diaristic eulogy that captures him at his most complicated and hopeful."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1521343028","type":"albums","href":"/v1/catalog/us/albums/1521343028?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music113/v4/71/f4/4b/71f44b8d-4163-abcf-f6e5-073dcf0adcdd/20UMGIM54796.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"3a3a3a","textColor1":"e6e2d8","textColor2":"eedfac","textColor3":"c3c1b8","textColor4":"cabe95"},"artistName":"Summer Walker","isSingle":false,"url":"https://music.apple.com/us/album/life-on-earth-ep/1521343028","isComplete":true,"genreNames":["R&B/Soul","Music"],"trackCount":5,"isMasteredForItunes":true,"releaseDate":"2020-07-10","name":"Life On Earth - EP","recordLabel":"LVRN/Interscope Records","copyright":"℗ 2020 LVRN/Interscope Records","playParams":{"id":"1521343028","kind":"album"},"editorialNotes":{"standard":"Whether social distancing has your love life flourishing or falling apart, Summer Walker’s Life on Earth offers something for every mood. The Atlanta singer’s lithe voice, in addition to her ability to capture the nuances of romance—from the messiest feelings to the most blissful—makes her R&B some of the most striking and relatable around today. This five-song EP, her follow-up to 2019’s Over It, offers several opportunities to locate yourself within her musings—but even if you can’t, its mellowed production and buttery vocals are enough to take you away. Walker herself wrote a track-by-track overview of the project, exclusively for Apple Music.
\nLet It Go\n“‘Let It Go’ is about when you are so blindly in love that you fail to see the person you're in love with for who they really are. After ignoring all the signs and your intuition, you get to a point where you just gotta let it go—and doing so will allow better love into your life in the long run.”
\nSWV\n“SWV is an R&B trio who became one of the most successful R&B groups of the ’90s, and I reference their hits ‘Weak’ and ‘Rain’ in the song. But it's basically about loving someone so good that you make sure they don't leave.”
\nMy Affection\n“‘My Affection’ features and was written by PARTYNEXTDOOR.”
\nWhite Tee\n“‘White Tee’ is another song featuring NO1-NOAH, and in the chorus he talks about treating someone like a white tee. You know you always wanna keep a white tee fresh and clean, but in my verse, I'm basically saying the opposite.”
\nDeeper\n“‘Deeper’ was actually made around the same time we made ‘Playing Games’ last year. It's a song that talks about how to go deeper in love. In this scenario, say there’s a certain someone that you have fallen for and you all in but it don’t feel like y'all on the same page—you keep your heart open and believe all the sweet talk and promises they make. Over time, you get them to understand that it’s deeper than just saying you will do something—they actually gotta put forth real effort and keep their word.”","short":"A mellowed escape into the heart’s messiest and most blissful corridors."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1521799228","type":"albums","href":"/v1/catalog/us/albums/1521799228?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music124/v4/e6/45/96/e6459639-24ad-df7e-7a94-9bd881ecadbb/886448610175.jpg/{w}x{h}bb.jpeg","bgColor":"242015","textColor1":"f5f3e5","textColor2":"f0f0b6","textColor3":"cbc9bc","textColor4":"c7c696"},"artistName":"Little Voice Cast","isSingle":false,"url":"https://music.apple.com/us/album/little-voice-season-one-episodes-1-3-apple-tv-original/1521799228","isComplete":true,"genreNames":["Pop","Music"],"trackCount":5,"isMasteredForItunes":true,"releaseDate":"2020-07-10","name":"Little Voice: Season One, Episodes 1-3 (Apple TV+ Original Series Soundtrack) - EP","recordLabel":"Loud Robot/Epic Records","copyright":"℗ 2020 Loud Robot, exclusively licensed to Epic Records, a division of Sony Music Entertainment","playParams":{"id":"1521799228","kind":"album"},"isCompilation":false}},{"id":"1507237820","type":"albums","href":"/v1/catalog/us/albums/1507237820?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music123/v4/35/8b/a5/358ba53b-d5af-6fd2-4be0-e1ea79341191/093624891802.jpg/{w}x{h}bb.jpeg","bgColor":"d6c6b7","textColor1":"0f0d0d","textColor2":"231f1b","textColor3":"37322f","textColor4":"46403a"},"artistName":"Brett Eldredge","isSingle":false,"url":"https://music.apple.com/us/album/sunday-drive/1507237820","isComplete":true,"genreNames":["Country","Music"],"trackCount":12,"isMasteredForItunes":true,"releaseDate":"2020-06-26","name":"Sunday Drive","recordLabel":"Warner Music Nashville","copyright":"℗ 2020 Warner Music Nashville LLC.","playParams":{"id":"1507237820","kind":"album"},"editorialNotes":{"standard":"“I got to the point where I felt like there was more I still could do, like I was leaving a lot on the table still,” Brett Eldredge tells Apple Music of the period of reflection and reinvention that led to his fifth album, Sunday Drive. A country-pop crooner with thoroughly contemporary sensibilities, he’d scored hits throughout the 2010s with songs he had a hand in writing, but after briefly stepping back from the spotlight, he was ready to adopt a more personalized singer-songwriter approach. He selected Ian Fitchuk and Daniel Tashian, who’d helped Kacey Musgraves achieve her artistic breakthrough on Golden Hour, as songwriting and studio partners and incorporated bits of insight and perspective from his interior life. “To be able to take that leap of faith was the best thing I ever did,” says Eldredge. Intent on getting a bit of distance from Nashville, he, Fitchuk, and Tashian headed to Chicago for recording sessions that yielded a warm, ’70s soft-rock sound. “I think that's what allowed me to really make a special record like this, was to get away from the noise and get away from other opinions and forget about the business,” says Eldredge. “You're completely out of your usual zone and it brings something else out in you. It certainly brought something else out of me.” Here Eldredge takes a leisurely trip through the songs of Sunday Drive.
\nWhere the Heart Is\n“This was the song that captured the journey that I was trying to go on to make this album—stepping away from everything and finding that spark, that version of myself that was unfazed by any other opinions. When I first moved to Nashville, and you're knocking on people's doors and handing them a CD because you don't care what they say. You just want them to hear your voice and you want to put yourself out there. And then the world and the business of everything shows up, and you feel like you don't get to be that person as much. And then you start putting guards up and you lose a sense of that person. I wanted to find that person again, and that was the whole goal of making this album. The way it starts is with that guitar; it makes you wait a little bit. I love that. It's been years since I put out a record, so there's a little bit of anticipation.”
\nThe One You Need\n“I wanted to be more realistic to what love and relationships were like in my personal life. I've always been known as a guy that sings love songs and all these songs about being deeply in love, and I've never really been in love. I know glimpses of it. I know what it can possibly be, but I've never really been deeply in love. I want to be able to be there for someone like that. It's not a guarantee. It's not for sure. But I know that it's a possibility, and I want to be here for that.”
\nMagnolia\n“I was listening to a lot of Billy Joel and Elton John, The Band and Bob Dylan—a lot of rootsy stuff. I love the sound of mandolin. This song has that kind of feel of a nostalgic yesterday, but just feels a little bit different and unique to itself. The bridge says it all: ‘It's a shame that you grow up when you do, because all the miles and all the years take a piece of you. I guess everything gets cut down over time. But that don't mean I don't go back there in my mind.’ It reflects this kind of carefree feeling of what you thought was love at that time in your life.”
\nCrowd My Mind\n“It's a pretty heavy song. I had just got back from a trip in California. I rented a little beach house out there. I was just by myself and very isolated. For Southern California, it was really rainy and really cold. It was very reflective of the people that were on my mind. It's stripped back. The song is mostly just piano and a vocal and a little bit of percussion.”
\nGood Day\n“It's like discovering that you need to look at the world differently than you've been looking at it. I try to be a positive person, but it comes time in life where you can wake up in the morning and be like, ‘Man, I got all this going on in my life and this here is just another day.’ I think I was realizing that my mind would get in that thought pattern sometimes, and becoming self-aware that I need to make that conscious decision to start my day and say, ‘What if I change it up? You can pick to have a good day and try to put your right foot forward.’ That doesn't mean it's guaranteed to be a good day just because you say that, but if you make that decision, at least you're heading in the right direction. I think that was big for me to realize that.”
\nFall for Me\n“This guy named Pat McLaughlin, he's an awesome artist and songwriter. He’s the king of groove and feel. I've always loved to write with him, but I've never gotten to record a song that I wrote with him. So I get in there to write with him and Daniel one day. He just has this cool groove, and he's singing this kind of half-put-together chorus. It's one of those songs you put on and it just kind of transports you.”
\nSunday Drive\n“I'm an appreciator of family and of memories of the things that shaped you into the person that you are now. This is the only song I didn't write. I heard this song over 10 years ago as an intern, and I was so blown away by it. I was just hoping and praying that no one would record it, because I felt like I needed to grow into this song. This is where I got to this record and I got in a place in my life, kind of growing up, self-reflective, in that crossroads of really appreciating those things. I think this song really puts that in perspective. From being a little kid in the back seat with your family, and then going to high school, singing and rolling the windows down and feeling like you're free and it's always going to be this way. Then all of a sudden you're a grown-up and you're helping your parents in the back seat and they're growing older and you're growing older, and you just realize that fragility of time and how to make every moment count.”
\nWhen I Die\n“It's just one of those songs that just popped up. I was doing a meditation. In the meditation, it talked about imagining if today was the last day your life. How would you want to spend it? How would you want to live and how would you want to go out? Letting go of all that, or at least making your best attempt to let go of all the little things and actually live. So it's not actually really about dying as much as it's about living.”
\nGabrielle\n“This is a real story for me. You can relate to a past relationship that just didn't work. I like that it's that specific. I think having this specific memory and being able to realize that was a good moment and you didn't go the distance, but you're glad you were there for it.”
\nFix a Heart\n“I wrote this song in the Florida Keys with my friend Scooter Carusoe. I was at a place where I was kind of talking about my journey and then life of how I get caught up in just making music and traveling to the next place. I don't have time to get tied down. It took me a while to understand it takes a good woman to fix a heart, all these things. You're kind of just avoiding yourself from a really great thing. The horns in there are something that I've always wanted to do.”
\nThen You Do\n“I've sung a lot of love songs that end with happy endings. But the reality is a lot of times you put yourself out there and things seem to go great, and then next thing you know, she says goodbye and splits your world in two. But you’ve got to put yourself out there. That's what life is. It's the ups and downs and showing up for it.”
\nParis Illinois\n“This was the last song we wrote before we headed up to Chicago to record this album. We were going to stop through Paris, Illinois, my hometown, on the way up. It's about halfway from Nashville to Chicago. The way you remember your hometown and remember the place you come from, it's going to be a lot more magical than when you actually show them that. Even when I go back home now, the mom-and-pop shops are mostly closed down and run down. The square is not as in good shape as it used to be. But the heart's still there and the courthouse still stands and the good people are still there. I still go back to the nostalgia of the way it made me feel as a kid, even if it doesn't look like that anymore. That kind of led to a song that's got these horns and strings and is a little bit of a dream. The record started out by trying to find my heart, and it's going to end with me realizing that it's at home.”","short":"“You're completely out of your zone and it brings something else out in you.”"},"isCompilation":false}},{"id":"1521306487","type":"albums","href":"/v1/catalog/us/albums/1521306487?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/3b/98/9a/3b989a1e-790c-3514-e2a1-0ac2244e93aa/780163569629.jpg/{w}x{h}bb.jpeg","bgColor":"7a9ba0","textColor1":"080e12","textColor2":"1a1f24","textColor3":"1f2a2e","textColor4":"2d383c"},"artistName":"Blake Neely","isSingle":false,"url":"https://music.apple.com/us/album/greyhound-apple-tv-original-motion-picture-soundtrack/1521306487","isComplete":true,"genreNames":["Original Score","Music","Soundtrack"],"trackCount":18,"isMasteredForItunes":false,"releaseDate":"2020-07-10","name":"Greyhound (Apple TV+ Original Motion Picture Soundtrack)","recordLabel":"Lakeshore Records","copyright":"℗ 2020 Lakeshore Records","playParams":{"id":"1521306487","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1510748182","type":"albums","href":"/v1/catalog/us/albums/1510748182?l=en-US","attributes":{"artwork":{"width":4000,"height":4000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/f0/8f/90/f08f90bc-b62d-8594-2fb5-e89a626092b9/603497848522.jpg/{w}x{h}bb.jpeg","bgColor":"baa085","textColor1":"060f0d","textColor2":"101314","textColor3":"2a2c25","textColor4":"322f2b"},"artistName":"Grateful Dead","isSingle":false,"url":"https://music.apple.com/us/album/workingmans-dead-50th-anniversary-deluxe-edition/1510748182","isComplete":true,"genreNames":["Rock","Music","Pop","Southern Rock","Jam Bands","Arena Rock"],"trackCount":32,"isMasteredForItunes":true,"releaseDate":"1970-06-14","name":"Workingman's Dead (50th Anniversary Deluxe Edition)","recordLabel":"Grateful Dead/Rhino","copyright":"℗ 2020 Grateful Dead Productions, Under Exclusive License to Rhino Entertainment Company, a Warner Music Group Company","playParams":{"id":"1510748182","kind":"album"},"isCompilation":false}},{"id":"1516417364","type":"albums","href":"/v1/catalog/us/albums/1516417364?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/fe/b5/49/feb54982-5fec-f221-008b-5ceb1adb2ea2/20UMGIM44039.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"b93520","textColor1":"fbf4f3","textColor2":"f8eae8","textColor3":"eecec9","textColor4":"ebc6c0"},"artistName":"My Morning Jacket","isSingle":false,"url":"https://music.apple.com/us/album/the-waterfall-ii/1516417364","isComplete":true,"genreNames":["Alternative","Music","Country","Alternative Country","Rock","Psychedelic","Indie Rock"],"trackCount":10,"isMasteredForItunes":true,"releaseDate":"2020-07-10","name":"The Waterfall II","recordLabel":"ATO Records","copyright":"℗ 2020 ATO Records, LLC. All Rights Reserved.","playParams":{"id":"1516417364","kind":"album"},"editorialNotes":{"standard":"When My Morning Jacket decamped to Stinson Beach, California, to record the The Waterfall in late 2013, their intention wasn’t to walk away with enough material for a sprawling “White Album kind of thing,” as frontman Jim James describes it now to Apple Music. But after James injured his back moving an amp—an incident that would temporarily halt the sessions and require surgery for a herniated disc—he spent months reflecting as he recovered. So many new songs poured out of him that when the album was eventually completed and ready for release in 2015, the band worried that a triple LP would only overwhelm listeners. “When it got right down to when we were deciding what it was supposed to be, we were just getting a lot of information coming in that made us feel like a lot of the songs would be wasted if we put them all out,” James says. “We didn't want these songs to be lost. So we decided to just chop it in half and put out The Waterfall as it was, and then put out the other half some other time. I mean, life has gone through so many ups and downs since then, there was never a deliberate call as to when we would do it.” Five years later, amidst the upheaval of a global pandemic and social uprising, James felt the time was right to finally share The Waterfall II, a set of psychedelic, collage-like rock that feels clearly linked to its equally introspective first half. “I was so frozen,” James says of the first weeks of the pandemic. “I was kind of looking back across my life and taking stock. I just felt like it would hopefully be a good time to release the record while the world was kind of in a reflective state. I think we still are.” Here, he tells us the story behind every song on the album.
\nSpinning My Wheels\n“I go on walks with my phone on shuffle, and it played ‘Spinning My Wheels.’ I listened to it and I was like, ‘Whoa, we’ve got this whole other album that, to me, feels very reflective.’ It’s funny because we're working on another new record—a new My Morning Jacket record—but with the pandemic and everything, it'll be a little while before we finish that and get all that stuff done.”
\nStill Thinkin\n“I feel like there's always this period—at least for me—when I'm going through a relationship falling apart, that I keep thinking that I can make it work. I think we've all experienced that. If there's something that can't be fixed, but you haven't accepted that yet and you keep trying to fix it. You’re trying everything because you don't want to lose it. But you kind of have to lose it, because that's what will be best for both of you—but you don't realize it. 'Still Thinkin' was caught up in that emotion and caught up in the fog of that. Ultimately, once it was gone and I was looking back on it and writing that song, it’s like that feeling of being a lone soul hanging off the edge of the world. I feel like so many nights during this pandemic—and I know I'm not alone—but you feel so alone because you're kept at home. And you're like, all right, I'm at home again for the 800th night in a row. What do I do tonight? And I think a thing that's difficult that a lot of people have said that I really appreciate is trying to not be hard on ourselves, trying to remember we don't have to write the next great American novel. We don't have to paint an amazing painting every night. Some nights we're just going to be sad and that's okay, because it's a difficult time.”
\nClimbing the Ladder\n“One thing that I've gotten sometimes when I talk to people about my sadnesses or my failures in love or personal life, people won't validate them or they'll say back to me, ‘Oh, but your career's going so good.’ And it's not like I'm not happy about those times, because we have so many levels in our life. We have so many different ways we are. There's the us that focuses on our career. There's the us that focuses on our family. There's the us that focuses on our hobbies, whatever. So that song I just kind of wrote about how I'm climbing the ladder and I'm paying my dues in this career way. But really at the end of the day—not that I don't value that or appreciate that—what I really want is sustainable love in my life and to create a sustainable relationship and a family and that kind of stuff, which I haven't been able to do.”
\nFeel You\n“That song was so weird, because I wrote the main riff in Kentucky before we went to Stinson Beach, but there weren't all of the instrumental parts and there weren't all of the other parts that happened. We went to Muir Woods several times while we were in Stinson Beach, and Muir Woods really gave me that song. I feel like being in those woods, the parts would come, because that's something that happens for me a lot. I walk and it generates music, but I feel like where I am contributes to that music. That song—a lot of the instrumentation and a lot of the ending and a lot of the space in the song—I feel like really was downloaded from the trees.”
\nBeautiful Love (Wasn’t Enough)\n“I wanted the song to have kind of a lighter vibe—not goofy, but just more of a resonant vibe that wasn't necessarily sad even though the song is kind of sad. I'm just really trying to look at myself and figure out why things didn't work out. I've had these moments where I'm like, ‘If I wrote down everything I wanted on paper, it was all there in this relationship. But for some intangible reason that I couldn't figure out, it just didn't work.’ And I was wondering about that in the song. Why wasn't it enough? Everything was there, but for some reason that I still don't understand, it wasn't enough. And I'm trying to figure that out for myself. What is it in me?”
\nMagic Bullet\n“God, I don't even know where to start. I mean, it's so sad to me that as I sit here and try to remember which shooting it was that inspired me to write that song and I can't even remember. There's been so many of them. The whole gun thing just makes me so sad, because guns disgust me and guns are made to kill people and that is so profoundly messed up. The whole right to bear arms and the right to carry guns and stuff: It’s like, when the Constitution was written, they had muskets. So if you want to get literal about the Constitution, then give everybody a musket or give everybody a single-shooter rifle or whatever, and be like, ‘Okay. Here's your guns. You got them.’”
\nRun It\n“It's Stinson Beach. I kept thinking about just wanting to get back to water. And I feel like most humans, we all love going to the water. We love going to the lake or to the beach, whatever it is, the swimming pool, we all have this desire. We’re made of water. At times, I feel so overwhelmed by life and I feel like I don't fit in to the human experience that I just want to turn back into water and go back into the ocean and start again. Maybe wash back up on shore, go through the whole thing again, because I don't know, sometimes it just doesn't make sense to me. That’s where that song came from.”
\nWasted\n“I feel like there's two ways to waste time. In ‘Feel You’ I reference what I consider to be the good way to waste time: to just take time, to do nothing basically, to experience the forest or experience the ocean, because I feel like we're all constantly trying to do things and trying to fill our time with activities and keep it moving. But I think we forget to just take time to just not do anything, but then there's the other kind of wasting time where I feel like if you start to do too much and you get stagnant and you get complacent and you don't realize what you have, you can waste a lot of time. You can waste a lot of opportunities, and ‘Wasted’ was just me thinking about that for myself and other people I know. When I feel like, ‘Oh god, I've been sitting here in this stagnant place,’ whatever it is, whether it's my misery or various injuries I've had that I've had to recover from, that require you to be in this time-wasting place, try and create that motion again. ‘Wasted’ was the instrumental nature of it, the whole middle section, and I was just trying to create that momentum, and that was all one of our favorite tracks, such a fun track to record and play. I feel like the first part of the song is we're trying to break up the energy, and then the instrumental part sends it out, shooting it out, once you've broken it up.”
\nWelcome Home\n“This was a rumination on family, and I have such a wonderful family—not only a blood family, but my friends that have become family—and sometimes I get so lost in the end of a romance or the failure of a romantic relationship that I can spin out and almost forget there's anybody else on earth. When I wrote ‘Welcome Home,’ it was a time after I came home to Kentucky and just had some beautiful hangs with my family and with my friends. It's just a reminder to myself that there are these people that love me, that do welcome me home, no matter what my personal or relationship life may be going through, and to not forget them in those times of need, but remember them and call on them, because they've always been there for me.”
\nThe First Time\n“Another one I wrote walking down the beach. That's a thing I think about a lot, that I struggle with. I almost feel like sometimes I haven't unlocked the key yet. Some people have, but I feel like we get almost penalized in relationships, that everybody always says there's the magic there at the beginning and everything is so amazing, and then slowly the magic fades away. You can keep creating that beginner's mind—that freshness that brought you together in the first place—but still grow. Can we make this feel as special as it did back when we met and things were electric and things were on fire and we were everything to each other? I haven't been able to sustain that. Somehow that always fades away, and I wish it was engineered the other way, where you got more and more rewarded for staying in the relationship—it just got hotter and hotter and more and more amazing. I know some people do make that happen, but I think it takes a lot of work, obviously, doing the work for yourself and have your partner do the work.”","short":"Jim James takes us inside the missing second half to MMJ’s 2015 LP."},"isCompilation":false}},{"id":"1521674860","type":"albums","href":"/v1/catalog/us/albums/1521674860?l=en-US","attributes":{"artwork":{"width":1425,"height":1425,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music124/v4/5c/99/55/5c9955db-f017-c614-d3a2-5458bf988ca8/075679809230.jpg/{w}x{h}bb.jpeg","bgColor":"0c1641","textColor1":"f6f6fe","textColor2":"9fbfef","textColor3":"c7c9d8","textColor4":"829dcc"},"artistName":"100 gecs","isSingle":false,"url":"https://music.apple.com/us/album/1000-gecs-and-the-tree-of-clues/1521674860","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":19,"isMasteredForItunes":false,"releaseDate":"2020-07-10","name":"1000 gecs and The Tree of Clues","recordLabel":"Dog Show Records","copyright":"℗ 2020 Dog Show Records","playParams":{"id":"1521674860","kind":"album"},"editorialNotes":{"standard":"1000 gecs, the 2019 album by experimental duo 100 gecs, was a fascinating distillation of some of music's most disparate styles—from dubstep and PC music to electro-pop and punk. Now the pair—Laura Les and Dylan Brady—is pushing their sound even further towards the outer edges of the electronic, pop, and hardcore spaces. With 1000 gecs and The Tree of Clues, the songs are reimagined by and with a slew of collaborators across the genre spectrum alongside a handful of new tracks. “We didn't really initially plan to do the remix album,” Brady tells Apple Music. “It kind of started from when we released the stems to our album, and people started making a bunch of remixes and stuff.” Some of the new takes are masterminded by the credited producers themselves with minimal input, while others reflect their own reworkings with a handful of vocal features. In creating this album, 100 gecs open up a space to explore the infinite possibilities and directions a song can take. Or, alternatively, in Les' words, “it's for a laugh and a half.” Here Brady and Les talk about the reworked tracks on the collection.
\nmoney machine (A.G. Cook Remix)\nDylan: “A.G. has been a new friend of mine. I was a huge fan of him for such a long time, and we connected and worked on a few things—worked on some Charli [XCX] stuff. And when we started thinking about that we were going to do this, we reached out to him for the remix.”\nLaura: “He's a legend of the 2010s, so we definitely wanted to get him.”
\nringtone (Remix) [feat. Charli XCX, Rico Nasty, Kero Kero Bonito]\nDylan: “Rico was a fan of the original track, apparently. Then we got the files back, and she went absolutely crazy. And I was working on some stuff with Charli, so we had been friends a bit, and we were obviously huge fans. We thought it would be sick to get her on the chorus and do a cool verse. We hadn't worked with Kero Kero Bonito, but we're both big fans of her as well. It was sick to get them to come together like that.”
\n745 sticky (Injury Reserve Remix)\nDylan: “That was a sick track—the beat on that one. It's way more different from the original track than most of the other ones. We did a bit of production with them on the remix with their producer Parker [Corey]. We both kind of worked on the beat together, and the vocals went crazy, of course.”\nLaura: “They all killed it on that—fucking amazing energy. It would be incomplete without them.”
\ngec 2 Ü (Danny L Harle Harlecore Remix)\nLaura: “Harlecore. It's a new subgenre that's popping up here and there by Danny L. It's an offshoot of hardcore. Euphoria abounds.”
\nhand crushed by a mallet (Remix) [feat. Fall Out Boy, Craig Owens, Nicole Dollanganger]\nLaura: “We met Pete Wentz as Fall Out Boy fans. He asked us if we'd be interested in doing work with some of his artists on his label, and we were like, 'Yes.' And three days later we just got a text that was this folder of freaking Patrick Stump vocals, and we were like, 'All right, that's it.' We got Craig on it—Craig's a huge inspiration for both of us. And Nicole, you know, she killed it. It all just came together in sort of a sloppy mess fashion.”\nDylan: “There's a very crucial sound in the beginning that came together in the last moments of the song. It's a vibraslap. That's kind of the glue to the whole song.”
\n800db cloud (Ricco Harver Remix)\nLaura: “That one actually came about from a remix on SoundCloud. There's two tracks that came about like that. We were just like, 'Amazing, that is very convenient that you're down, because we love it.' Big banger energy from that one.”
\nstupid horse (Remix) [feat. GFOTY & Count Baldor]\nDylan: “We've been big fans of GFOTY, similar tale as the others. We've been fans of her for a super long while—big inspiration as well. We reached out to her, and then she brought on Count Baldor to help remix it with her—also an incredible force of nature.”
\nringtone (umru Remix)\nLaura: “It's crazy to see how much music there is. So many artists and musicians out there, and umru is one of them. And graciously, he accepted and blessed us.”
\nxXXi_wud_nvrstøp_ÜXXx (Remix) [feat. Tommy Cash & Hannah Diamond]\nLaura: “That one was funny, because Tommy Cash—we actually asked him to do a different song, and he just, I think, didn't care about the other songs, so he just remixed this one, which we're glad that he did because it turned into an incredibly sick banger. Hannah Diamond with a beautiful voice as always. Incredible vocal performance on that one from all parties for the benefit of your parties.”
\n745 sticky (Black Dresses Remix)\nLaura: “Yeah, they're incredible, defunct now—recently defunct project. But both numbers in there are great people, great musicians, big fans of them.”
\ngecgecgec (Remix) [feat. Lil West and Tony Velour]\nDylan: “We did the production on that one. Me and Laura both have produced for Lil West in the past, and I was working with Tony. We thought they would kill a reimagining of that, and Laura went crazy on the end with the new hook as well.”
\nxXXi_wud_nvrstøp_ÜXXx (99jakes Remix)\nLaura: “The famous 909 worldwide, hardcore will never die, 99jakes. Single-handedly defending hardcore in the 2020s. Big, meaty 909 kick in the butt is the description for that one.”
\ngec 2 Ü (Remix) [feat. Dorian Electra]\nDylan: “We started that I think right before—we were both going on tour at the same time. They actually recorded all of the vocals for that on their laptop mic because they didn't have any access and wanted to get it in as soon as possible. Little did they know it would not come out for super long, but they went absolutely crazy on that.”
\nhand crushed by a mallet (No Thank You Remix)\nDylan: “I think that came out before the stems, actually, because it's not actually a remix—they just covered it. That version has just always been so powerful to me.”\nLaura: “I was working at my old job right after the album came out, and that remix was out, and I was listening to it while I was counting inventory in the basement. I was just throwing things around like, 'This is insane, this is so good.' So when we were going to do a remix album, that was a pretty easy choice for one that we had to do. We were both pretty floored by that one.”","short":"“It's for a laugh and a half.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1520693784","type":"albums","href":"/v1/catalog/us/albums/1520693784?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/5b/4f/8a/5b4f8a16-a006-baf8-df96-58460bc0afbe/20UMGIM35968.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"341608","textColor1":"e3ab71","textColor2":"d59875","textColor3":"c08d5c","textColor4":"b57e60"},"artistName":"Barns Courtney","isSingle":false,"url":"https://music.apple.com/us/album/hard-to-be-alone-ep/1520693784","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":4,"isMasteredForItunes":true,"releaseDate":"2020-07-10","name":"Hard To Be Alone - EP","recordLabel":"EMI","copyright":"An EMI release; ℗ 2020 Universal Music Operations Limited","playParams":{"id":"1520693784","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1505353895","type":"albums","href":"/v1/catalog/us/albums/1505353895?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music123/v4/ef/fd/29/effd29c1-ed77-4f6b-aa04-0b69c20b0ff4/804297836805.jpg/{w}x{h}bb.jpeg","bgColor":"92401b","textColor1":"fbe991","textColor2":"fadf5b","textColor3":"e6c779","textColor4":"e5bf4e"},"artistName":"Galcher Lustwerk","isSingle":false,"url":"https://music.apple.com/us/album/proof-ep/1505353895","isComplete":true,"genreNames":["Electronic","Music","Dance"],"trackCount":6,"isMasteredForItunes":false,"releaseDate":"2020-07-10","name":"Proof - EP","recordLabel":"Ghostly International","copyright":"℗ 2020 Ghostly International","playParams":{"id":"1505353895","kind":"album"},"isCompilation":false}},{"id":"1521949292","type":"albums","href":"/v1/catalog/us/albums/1521949292?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music114/v4/4b/1c/34/4b1c3480-3d6c-91dc-851c-6e3e58f08e92/053000271185_cover.jpg/{w}x{h}bb.jpeg","bgColor":"909090","textColor1":"0c0c0c","textColor2":"2b1039","textColor3":"262626","textColor4":"3f2a4a"},"artistName":"Various Artists","isSingle":false,"url":"https://music.apple.com/us/album/i-am-other-vol-1/1521949292","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2020-07-10","name":"i am OTHER, Vol. 1","recordLabel":"iamOTHER","copyright":"℗ 2020 iamOTHER","playParams":{"id":"1521949292","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1515733912","type":"albums","href":"/v1/catalog/us/albums/1515733912?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/e7/20/ce/e720ce61-dc1c-6c9f-6fd2-77bcce416a20/20UMGIM20722.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"4f4f4f","textColor1":"fafafa","textColor2":"f8f8f8","textColor3":"d8d8d8","textColor4":"d6d6d6"},"artistName":"Buzzard Buzzard Buzzard","isSingle":false,"url":"https://music.apple.com/us/album/the-non-stop-ep/1515733912","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2020-07-10","name":"The Non-Stop EP","recordLabel":"Caroline International (P&D)","copyright":"℗ 2020 Buzzard Buzzard Buzzard, under exclusive license to Communion Group Ltd","playParams":{"id":"1515733912","kind":"album"},"isCompilation":false}},{"id":"1519871822","type":"albums","href":"/v1/catalog/us/albums/1519871822?l=en-US","attributes":{"artwork":{"width":3001,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/b1/0b/1b/b10b1b66-08b6-509a-742d-277a481e133a/5059033593374.png/{w}x{h}bb.jpeg","bgColor":"b5cf38","textColor1":"000500","textColor2":"161a0c","textColor3":"242d0b","textColor4":"363e14"},"artistName":"ELIO","isSingle":false,"url":"https://music.apple.com/us/album/u-and-me-but-mostly-me/1519871822","isComplete":true,"genreNames":["Pop","Music"],"trackCount":7,"isMasteredForItunes":false,"releaseDate":"2020-07-09","name":"u and me, but mostly me","recordLabel":"ELIO","copyright":"℗ 2020 ELIO","playParams":{"id":"1519871822","kind":"album"},"editorialNotes":{"standard":"When you’re an outsider trying to break into the upper echelons of the pop world, it doesn’t hurt to have Charli XCX in your corner. Wales-born, Toronto-bred singer Charlotte Victoria, aka ELIO, wrote much of her first EP before she connected with the UK alt-pop star through their mutual manager, but it’s easy to hear why Charli eagerly signed on to be her sounding board during the recording process. Like her idol-turned-mentor, ELIO embraces a maximalist pop aesthetic—absorbing future-soul electronics, finger-snapping R&B, and bedroom-indie authenticity—that serves as a protective shield for the raw confessionals concealed within. On u and me, but mostly me, her smooth hooks lure you into frank discussions about the anxieties of leaving home to pursue your dreams, the perils of long-distance romantic relationships, and the dissociative effects of being extremely online. “It's really just a huge encapsulation of the last few years of my life,” ELIO tells Apple Music. “Every song kind of represents a different year, a different month, and a different experience.” Here, ELIO takes us through her musical diary, page by page.
\nMy Friends Online\n“I spent the last year kind of going back and forth between LA and the UK, so I haven't really hung out with my friends, and a lot of my social life is on my phone. I just remember being in a session last November and feeling like, 'I'm just so sick of looking at my phone!' I spent a lot of my time in LA working, so I don't really have like a social group there. And it was just so crazy to stop and think about it for a second: I spend hours a day on my phone. I might be building relationships with friends that I already have, but it's kind of hindering the life that I'm living in LA. I have friends that I've never met that I consider pretty close because I follow them online—that's pretty common among my generation. So this song is about how it's okay to be social through your phone, but kind of learning when your phone is serving you and when you're serving your phone—there's a very fine line.”
\nBody Language\n“This is kind of the same idea as 'My Friends Online,' just a little more homed in on my personal relationship. My boyfriend is a musican too, so he goes on tours, and I obviously travel, so we're learning how to be together and translate that to when we're not together. There have been so many situations where we've had disagreements or fights over something that would've totally translated in person, but because it was over text, it was misunderstood. We crack jokes a lot, and we're very sarcastic, but sometimes, I can text something that's a joke, and because he can't see that I'm smiling when I send it, it comes across as probably not that nice.”
\nu and me, but mostly me\n“I wrote this when I had just gotten back together with my boyfriend after we had broken up for a few months. It was a weird time, because we were figuring everything out—we were in this weird honeymoon phase. The title is kind of a play on 'it's not you, it's me,' and it's about analyzing yourself and how you act in relationships and also looking at the other person, and finding that balance between being levelheaded and just kind of like flipping out.”
\nsunday :)\n“I was about to get back together with my boyfriend, and he was playing a show, and it was on a Sunday. We were still broken up and I was like, ‘Well, maybe if I go, we'll see each other, you know...and then we might get back together.' So it's about me showing up and supporting, but there's also this motive behind it.”
\nWaste of Emotion\n“I wrote this in January when I was in Sweden, and it's about how bad my anxiety was. It was my second-last day there and I had 13 hours of flights I had to catch to get to LA. I'm not terrified of the act of flying, I'm just scared of people in enclosed spaces and not being able to leave a situation. So I was absolutely crippled with anxiety for the days leading up to it. I get to travel and I get to have all these amazing experiences, but it also ends up being such a mental struggle that I can never really take in the moment. I feel like that's a really horrible way to live your life, especially when, you know, I'm lucky enough to have those experiences.”
\nLA in Two\n“I only went to LA for the first time last year, and I just absolutely fell in love with it, and the people and the producers I met there. Every time I'm there, I'm booked with sessions, so it's always really fun. I've always had a fascination with California, even when I was a kid—it's so pretty and so warm there, and so freezing in Canada. I just love LA and the music scene there—it just seems a little more open. I had this perception of LA being this very music-business place where dreams go to die, and I don't know if it was luck, but I ended up having the complete opposite experience and I pretty much only have good times when I'm in LA. But it sucks too, because I get there, and I love the weather and the people, but my family and my friends aren't there, so 'LA in Two' is about going there, loving it, but also the anxiety that goes with starting your career. It can be a little bit lonely. It's kind of a rollercoaster, this music thing. But I love it.”
\nHaircut (Reputation)\n“This is about when I broke up with my boyfriend. My best friend's a hairdresser, which is amazing when you're in quarantine and you need your hair done, but not so great when you're emotionally fragile and you'd do anything for change. And so I cut my hair and dyed it white. It wasn't that bad, but it was definitely a time in my life where I felt like I needed to do something just to do something.”","short":"The Charli XCX protégé uses maximalist pop to deliver raw confessions."},"isCompilation":false}},{"id":"1495399435","type":"albums","href":"/v1/catalog/us/albums/1495399435?l=en-US","attributes":{"artwork":{"width":4000,"height":4000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/81/83/52/818352ea-aed3-ca2f-d6d7-a1998c2c15ec/4050538601091.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"f0fbf7","textColor2":"01ce73","textColor3":"c0c9c5","textColor4":"01a55c"},"artistName":"DMA'S","isSingle":false,"url":"https://music.apple.com/us/album/the-glow/1495399435","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2020-07-10","name":"THE GLOW","recordLabel":"Infectious Music","copyright":"℗ 2020 Illusive Sounds Pty Limited under exclusive licence to BMG Rights Management (UK) Limited","playParams":{"id":"1495399435","kind":"album"},"editorialNotes":{"standard":"“There’s a big theme about change and adapting to change that’s found lyrically on the record,” DMA’S guitarist Johnny Took tells Apple Music of their third album, THE GLOW. That change also extends to their sound, with the Sydney trio incorporating dance beats and electronic production into the Britpop-inspired songs they’re known for. Frontman Tommy O’Dell has long professed his love for electronic music, while Took’s ten-month stint in Edinburgh during 2019 saw him exploring the genre further. “I had a lot of time on my hands,” he says. “So I had a lot of time to think. I’d walk around those sandstone streets and listen to lots of British electronic music, which kind of felt like a natural trajectory for us.” With the exception of a few songs recorded with Scott Horscroft at The Grove Studios on the Central Coast in New South Wales, the band put their trust in producer Stuart Price (Madonna, New Order) to guide them in this new direction. Here, Took takes us through each track on THE GLOW.
\nNever Before\n“We’d never really done a groove track on a DMA’S album. We try and do verse, pre-chorus, chorus, middle eight, outro, and a riff for every song. But we went, this is going to be two chords, back and forth, that invert eventually. It’s about grooving and dance and synthesizers, moving around, and it doesn’t have to be so structured. It was kind of refreshing to move in that direction and set the tone for the record.”
\nThe Glow\n“Everyone knows the frustration of being an artist where you think you’re on to something good but nothing’s really come from it yet. And I guess that’s where that lyric–‘I’m sick and tired of chasing the glow’–came from, which is the idea of chasing something bigger or better. When the song was written around five or six years ago, we were chasing it.”
\nSilver\n“‘Silver’ had been around for a long time. It could have well been on the first DMA’S record, but the song wasn’t ready, until we came up to The Grove with Scott Horscroft. It was like, okay, we need another part, and we found that melody that just fit perfectly.”
\nLife Is a Game of Changing\n“It was one of the first songs that evolved from us mucking around with synthesizers and electronic beats, and so we wanted it to be a bold statement as the single, to set the tone to let people know what we’re going to be about on this record.”
\nCriminals\n“This was the last song to make the cut. Working with Stuart, he incorporated lots of these sampled vocals, tuned-down pianos, and his level of production, which we hadn’t experimented with before.”
\nStrangers\n“This song was one of the first songs [guitarist Matt] Mason ever brought to the table for DMA’S. Once again, it hadn’t really hit its stride or felt appropriate how we’d done it before, and then we worked with Stuart in the studio. That song’s always had such a massive chorus, and for me it’s one of the kind of ‘cooler’ guitar tracks on the record.”
\nLearning Alive\n“I wrote it really quickly, and it was written on the piano at my parents’ place. Once again, it’s about changing and I guess happiness prevailing through sadness with friendship.”
\nHello Girlfriend\n“This song nearly didn’t make the album. We butted heads with some of our team on this, but Mason and I just fucking love that song so much. And we loved the direction the album was heading, but we felt like we needed a song like this, which was a bit old-school DMA’S.”
\nAppointment\n“This is a Tommy and Mason one, and I think even when we were recording [2016 debut album] Hills End they worked on this track in between takes. It’s not a single, but I can see it easily being a lot of people’s favorite track on the record.”
\nRound & Around\n“We’ve tried to put this song on every release we’ve ever made. It was originally called ‘Sunday Morning,’ and it’s gone through so many changes. We joined a lot of songs. And it sounds great, it’s the rock ’n’ roll tune, you know, it’s nice to have that on the record.”
\nCobracaine\n“We’ve tried to put it on every release since the start. And it was completely wrong. And it wasn’t until we started discovering synths and electronic beats and stuff that the song really came to life. Mason wrote it when he was 19. It’s about kids driving up to schoolies and having a car crash, which is such a horrible thing that happens every summer. One single moment that changes people’s lives forever.”","short":"Dance music and Britpop collide on the Sydney trio’s third album."},"isCompilation":false}},{"id":"1514517219","type":"albums","href":"/v1/catalog/us/albums/1514517219?l=en-US","attributes":{"artwork":{"width":3789,"height":3789,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music123/v4/2f/d2/2d/2fd22d74-2c32-a7a3-6ab9-2915424f0609/729920164387.jpg/{w}x{h}bb.jpeg","bgColor":"8f4786","textColor1":"f7f9f4","textColor2":"f3f3d8","textColor3":"e2d5de","textColor4":"dfd1c7"},"artistName":"Sufjan Stevens","isSingle":false,"url":"https://music.apple.com/us/album/america-ep/1514517219","isComplete":true,"genreNames":["Indie Rock","Music","Alternative","Electronic"],"trackCount":2,"isMasteredForItunes":false,"releaseDate":"2020-07-10","name":"America - EP","recordLabel":"Asthmatic Kitty","copyright":"℗ 2020 Asthmatic Kitty Records","playParams":{"id":"1514517219","kind":"album"},"isCompilation":false}},{"id":"1518304291","type":"albums","href":"/v1/catalog/us/albums/1518304291?l=en-US","attributes":{"artwork":{"width":3125,"height":3125,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music113/v4/0d/af/06/0daf06da-7762-5644-5945-be0d6e945f2b/810025348403_cover.jpg/{w}x{h}bb.jpeg","bgColor":"dca667","textColor1":"201b26","textColor2":"261e27","textColor3":"453733","textColor4":"4a3934"},"artistName":"Steven A. 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It was really just a lot of processing what is the new normal.” In his candid At Home With interview with Zane Lowe, the composer, lyricist, actor, and playwright shares his thoughts about growing up in NYC in the ’90s during hip-hop’s golden age, making his blockbuster Broadway musical Hamilton more accessible, and his small steps towards social change in the theater industry both in front of and behind the curtain. Miranda also created an exclusive Apple Music playlist of songs bringing him joy during lockdown, which includes recommended tunes from Calle 13, clipping., and Leslie Odom, Jr. Also included is Panamanian salsa giant Rubén Blades, whose 1984 album Buscando América, which translates to “Searching for America,” resonated with him from an early age. “It was these Latin songs that were this meditation of not America in the sense of United States, but like the North, Middle, and South America,” he says. “You're dancing and then you stop to listen to the lyrics and go, 'Oh, this is some of the most profound poetry I've ever heard.’ He can write that dance hit if he wants to with his eyes closed, but he can also make you think.”","short":"“I’m just readjusting to the new rules.”"}}},{"id":"pl.b9262a34dcea4b90a0fec556e1127b7f","type":"playlists","href":"/v1/catalog/us/playlists/pl.b9262a34dcea4b90a0fec556e1127b7f?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features114/v4/0e/60/af/0e60afee-e9b7-d074-db4f-c246b320c512/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"f9fafb","textColor2":"e1e1e1","textColor3":"c7c8c9","textColor4":"b4b4b4"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-will-i-am-the-playlist/pl.b9262a34dcea4b90a0fec556e1127b7f","lastModifiedDate":"2020-06-28T19:25:47Z","name":"At Home With will.i.am: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.b9262a34dcea4b90a0fec556e1127b7f","kind":"playlist"},"description":{"standard":"will.i.am is looking at the bright side during these dark times. “Considering what's going on, I'm happy that I’m able to breathe,” the Black Eyed Peas frontman and entertainer tells Apple Music. “Right now, I can prioritize my life to where I’m only doing two things and not four things.” In his candid Zane Lowe interview for Apple Music’s At Home With series, will.i.am goes into the challenges of finishing the Peas' multilingual comeback album Translation, taking Sting’s private helicopter to Glastonbury Festival, and his foundation, which aims to help underprivileged kids get into college. “I wrote it on paper first,” he says about his exclusive At Home With playlist, which includes a blend of contemporary reggeatón (J Balvin) and dembow (El Alfa, Darell & Noriel), Latin pop (ROSALÍA & Ozuna) and old-school hip-hop (KRS-One). \"It's poppy and uplifting, because that's the only thing you could trust right now.\"","short":"“I'm happy that I’m able to breathe.”"}}},{"id":"pl.e8a832c2ecb5479eb4f51ef96e15a8ba","type":"playlists","href":"/v1/catalog/us/playlists/pl.e8a832c2ecb5479eb4f51ef96e15a8ba?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features113/v4/41/2b/f0/412bf0a5-60e4-5d5a-93f1-74d99c6228b2/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"f9fafb","textColor2":"dbc6a4","textColor3":"c7c8c9","textColor4":"af9e83"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-sia-the-playlist/pl.e8a832c2ecb5479eb4f51ef96e15a8ba","lastModifiedDate":"2020-06-28T19:23:41Z","name":"At Home With Sia: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.e8a832c2ecb5479eb4f51ef96e15a8ba","kind":"playlist"},"description":{"standard":"“I just thought being loved by strangers was the cure,” Sia tells Apple Music. “When I got to a level of even average fame, I realized that was not the case. And then as I got progressively, slightly more famous, I realized it wasn't for me at all and that I had made a huge mistake.” On her revealing At Home With interview with Zane Lowe, the pop singer-songwriter, actor, and director opens up about dealing with the trappings of fame, the joys and challenges of adopting two sons and the foster system, and becoming a grandmother. As she prepares for her upcoming directorial film debut Music, which she also co-wrote, Sia curated an exclusive Apple Music playlist with tracks that are bringing her joy during lockdown. “It was literally nothing from the modern day,” Sia says of the playlist, which includes tracks by Aretha Franklin, The Cardigans, Outkast, and Prince (whose 1987 double album Sign O’ the Times is here in its entirety), and maybe not a lot of newer artists. “I didn't realize it until after I sent it. I was like, 'Oh, I haven't listened to music in 20 years, obviously.’”","short":"“There are things to do. We can actually act.”"}}},{"id":"pl.f38efa4ee9f64798b571ae3d484a107e","type":"playlists","href":"/v1/catalog/us/playlists/pl.f38efa4ee9f64798b571ae3d484a107e?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features113/v4/55/3f/c9/553fc90d-7b7c-a69a-23b1-08d974935c92/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"f9fafb","textColor2":"ead8d3","textColor3":"c7c8c9","textColor4":"bbada9"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-jack-antonoff-the-playlist/pl.f38efa4ee9f64798b571ae3d484a107e","lastModifiedDate":"2020-06-28T19:19:19Z","name":"At Home With Jack Antonoff: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.f38efa4ee9f64798b571ae3d484a107e","kind":"playlist"},"description":{"standard":"“It doesn't help me to think I'm in quarantine—it actually kind of hurts me,” Jack Antonoff says about self-isolating during the pandemic. “I think one of the things that I love about writing is the whole world is happening, and then you choose to step away from it. There’s such a power in that to say, no, we chose this life. And so I think this quarantine is really interesting because it's different: We're all doing this.” Hunkered down at home, the singer-songwriter and blockbuster record producer is putting the finishing touches on his third album under the Bleachers name, finding new and fun ways to stay in touch with his family, and listening to music that takes him back. “Everything on this playlist is from 1998—and the reason why I chose that is because it was a seminal year for me,” says Antonoff of his exclusive At Home With playlist for Apple Music, which includes recommended tunes from Air, Lauryn Hill, Belle and Sebastian, and the Smashing Pumpkins’ “Perfect.” “This album [Adore], and this song, feels like Superman aged on a bus stop stool, drinking a bottle of vodka,” Antonoff says. \"There's a total beauty to it, but it's very harsh. It's an attempt at an upbeat song, but it's still heartbreaking to me.\"","short":"“This quarantine is really interesting because it's different. We're all doing this.”"}}},{"id":"pl.2d0a0f22b5444a5db7339217fc460e7e","type":"playlists","href":"/v1/catalog/us/playlists/pl.2d0a0f22b5444a5db7339217fc460e7e?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features113/v4/7c/67/81/7c6781bb-af69-9982-c43a-5cff24bc3909/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"f9fafb","textColor2":"e3c6a8","textColor3":"c7c8c9","textColor4":"b69e87"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-kygo-the-playlist/pl.2d0a0f22b5444a5db7339217fc460e7e","lastModifiedDate":"2020-06-21T02:10:10Z","name":"At Home With Kygo: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.2d0a0f22b5444a5db7339217fc460e7e","kind":"playlist"},"description":{"standard":"Norwegian electronic producer Kygo is grateful for all the experiences he gained before the pandemic hit. “It makes me appreciate all the memories that I had on tour, living the life,” he tells Apple Music. “And even though it was hectic—new airports, new hotel every day—it makes me really think of all those good times that I had traveling around.” In the meantime, he says he’s spent most of his time putting the finishing touches on his latest release, Golden Hour, and listening to music that motivates him during his workouts. On this exclusive Apple Music playlist curated by Kygo himself, he shares tracks from Duke Dumont & Zak Abel, Haux, and Bon Iver that are keeping him going during lockdown. “It’s very downtempo, you know?” he says of Elderbrook’s “Numb,” included here. “That's the music I love to listen to, just drinking a beer or having a glass of red wine in the evening.”","short":"“If I have a bad day, I listen to music.”"}}},{"id":"pl.8df7965c180d4b80813fa435f25445f2","type":"playlists","href":"/v1/catalog/us/playlists/pl.8df7965c180d4b80813fa435f25445f2?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features123/v4/64/fb/11/64fb11b8-503e-0da7-517c-3d10e0458437/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"fafafa","textColor2":"cdcdcd","textColor3":"c8c8c8","textColor4":"a4a4a4"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-sara-bareilles-the-playlist/pl.8df7965c180d4b80813fa435f25445f2","lastModifiedDate":"2020-06-21T02:08:50Z","name":"At Home With Sara Bareilles: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.8df7965c180d4b80813fa435f25445f2","kind":"playlist"},"description":{"standard":"Sara Bareilles is taking the time to sit back and reflect as she adjusts to this new normal while she’s social distancing. “I’m looking at all those parts of myself and how we can show up with kindness and compassion, and not have to perform for the world all the time,” Bareilles tells Apple Music. “It's part of the reason I've been really quiet during this pandemic, because I am taking it in, and what's authentic to me is not performative right now. It's just watching.” Meditation has been an integral part of the pop singer-songwriter and actor's routine, as has taking care of her mental health. “I'm someone who really struggles with anxiety, and I've had a tough go of it during this pandemic. It came back big, big, big time.” In the meantime, Bareilles has kept busy writing original music for the upcoming TV series Little Voice (playing exclusively on Apple TV+), which she also co-executive produces. On this exclusive Apple Music playlist curated by Bareilles herself, she shares an eclectic mix of tracks that are keeping her centered, featuring artists like Nina Simone, Aretha Franklin, D’Angelo, and Charlie Rich, whom she first learned about from record producer T Bone Burnett while they were working on her 2019 album Amidst the Chaos. “He’s the person who shared this record with me, and realizing that this was just the demo of the song—that it was just a throwaway one-take recording—it just broke my heart open,” she says of the country crooner’s ballad “Feel Like Going Home.” “The first time I heard it, I was like, ‘Play it again. Start again.’”","short":"“I am taking it in, and what's authentic to me is not performative right now.”"}}},{"id":"pl.40fb154e25f54638b8f045801867fc80","type":"playlists","href":"/v1/catalog/us/playlists/pl.40fb154e25f54638b8f045801867fc80?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features113/v4/25/a9/b7/25a9b79c-74d2-aa4d-7eba-fc3954e09397/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"f9fafb","textColor2":"e86a2c","textColor3":"c7c8c9","textColor4":"ba5523"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-tenacious-d-the-playlist/pl.40fb154e25f54638b8f045801867fc80","lastModifiedDate":"2020-06-21T02:05:21Z","name":"At Home With Tenacious D: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.40fb154e25f54638b8f045801867fc80","kind":"playlist"},"description":{"standard":"Tenacious D, the comedy rock duo of Jack Black and Kyle Gass, never expected that their 2018 album, Post-Apocalypto, would take on an entirely new meaning when the pandemic hit. “When we started working on Post-Apocalypto, we were really just reacting to the orange menace,” Black tells Apple Music, referring to President Trump. “We had no idea that there was going to be a global pandemic that made our last album all the more relevant. That was an accidental twist of fate.” Fresh off the release of the tender acoustic song “5 Needs”—which the duo performed for the first time from home during the COVID Is No Joke virtual comedy festival—Black and Gass curate a selection of timeless classics that are rocking their socks off during lockdown on this exclusive Apple Music playlist. Check out some of their picks below.\n\nThe Beatles, “Help!”\nBlack: \"Because we’re saying help the world, and the Beatles saying that, it’s a perfect song.” \n\nPaul Simon, “Wristband”\nGass: “It’s a late-career entry. Obviously, Paul is an icon, he's a legend. But what do you do if you're a legend and you're 100 years old but you want to come up with new material? It's a risky proposition. I dutifully checked out Paul and then watched the live performance of ‘Wristband,’ and it just caught my ear.”\n\nThe Charlie Daniels Band, “The Devil Went Down to Georgia”\nBlack: “There's a great tradition of doing battle with Satan in rock ’n’ roll music and before rock ’n’ roll. And of them all, I think 'The Devil Went Down to Georgia' is probably the most powerful, iconic version of that story.”\n\nDio, “Holy Diver”\nBlack: “He was definitely an influence on my teenage heavy metal mind. When we wrote our song about Dio passing the torch to us, we never dreamed that we were actually going to get him to play a cameo in our movie Pick of Destiny. We got a chance to meet the man, the myth, the legend, and what a sweetheart of a heavy metal rock star.”","short":"“We're still feeling the ramifications and will, I'm afraid, for years to come.”"}}},{"id":"pl.7b55ac4a545347488a2c2415c7603d12","type":"playlists","href":"/v1/catalog/us/playlists/pl.7b55ac4a545347488a2c2415c7603d12?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features113/v4/9d/53/4e/9d534ead-dfe0-ca76-6f78-595627e86543/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"cbc8a8","textColor2":"cda26c","textColor3":"a2a086","textColor4":"a48156"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-ellie-goulding-the-playlist/pl.7b55ac4a545347488a2c2415c7603d12","lastModifiedDate":"2020-06-15T23:48:58Z","name":"At Home With Ellie Goulding: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.7b55ac4a545347488a2c2415c7603d12","kind":"playlist"},"description":{"standard":"Ellie Goulding is eager to release her upcoming album Brightest Blue soon—even with everything that’s going on in the world. “It is a lot of me on this one, which was really important to me,” Goulding tells Apple Music. “It does feel good to have an album that—albeit [one] I wrote a long, long time ago—is a body of work that I believe in.” On her At Home With interview with Zane Lowe, the British pop singer-songwriter talks about dissecting herself as a form of therapy, stepping outside her comfort zone as an artist, and having Craig David sing at her 2019 wedding. As she prepares for the album’s July 2020 release from her home in Oxfordshire, England, she’s curated an exclusive Apple Music playlist with tracks that are keeping her mood up during these crazy times, featuring artists like Annie Lennox, Dario Marianelli, Kate Bush, and Nick Cave & The Bad Seeds, whose 1997 track “Into My Arms” she considers moving and timeless. “He wrote this beautiful pop ballad, but he does it his own way,” she says about Cave. “It has so much space in it, and it's so simple. I wish I thought of that, because it's basically saying, ‘I don’t believe in God, but if I did, he would have made you as you are.’”","short":"“We all need a safe place at the moment.”"}}},{"id":"pl.19f2be1b90564868bd589742f4824b62","type":"playlists","href":"/v1/catalog/us/playlists/pl.19f2be1b90564868bd589742f4824b62?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features113/v4/cc/54/70/cc5470e1-0ec7-24fa-eea2-c0f611df118d/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"f9fafb","textColor2":"0094fa","textColor3":"c7c8c9","textColor4":"0077c8"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-deadmau5-the-playlist/pl.19f2be1b90564868bd589742f4824b62","lastModifiedDate":"2020-06-15T23:47:48Z","name":"At Home With deadmau5: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.19f2be1b90564868bd589742f4824b62","kind":"playlist"},"description":{"standard":"“I'm sitting around and coming up with ways to keep it going without having to leave the house, and that's a big challenge,” deadmau5 says about self-isolation during the pandemic. Hunkered down at home, the Canadian DJ has kept writing and recording music. He also relaunched a series of online livestreams called mau5trap Monday, a platform he uses to discover new talent and get new artists signed to his label mau5trap. “It’s basically me at home in the studio, where people submit their demos and we listen to them,” he says. “It’s kind of interactions with fans and producers where we can listen to their demos, and we keep a notepad of ones that are catching our ears.” On this exclusive Apple Music playlist curated by deadmau5 himself, he’s included tracks by Tommy Lee & Aero, Foo Fighters, Richie Hawtin, and Rrose, whose 2012 track “Waterfall” he listens to while he’s keeping himself productive. “If anyone ever asked me, ‘What kind of music do you listen to?’ I would easily point to this, ’cause this is something I can listen to as I work,” he says. “My boomer techno is Rrose; that’s the stuff I like. The ‘no f***s given, I'm just so pure into this’ kind of thing.”","short":"“We're going to see this whole big influx of new music.”"}}},{"id":"pl.0741b1e4a4d74706ba89c213e007a467","type":"playlists","href":"/v1/catalog/us/playlists/pl.0741b1e4a4d74706ba89c213e007a467?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features113/v4/ed/ea/07/edea0742-eb44-84c0-c5b4-ee5c581f614e/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"f9fafb","textColor2":"e99569","textColor3":"c7c8c9","textColor4":"bb7754"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-yusuf-cat-stevens-the-playlist/pl.0741b1e4a4d74706ba89c213e007a467","lastModifiedDate":"2020-06-15T23:46:42Z","name":"At Home With Yusuf / Cat Stevens: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.0741b1e4a4d74706ba89c213e007a467","kind":"playlist"},"description":{"standard":"Veteran British singer-songwriter Yusuf/Cat Stevens is spending time with his family in Dubai during the pandemic. “We’re kind of surviving, and surviving well,” he tells Apple Music. “We haven't had so many cases here. The government's been a bit strict, but I think that's a good thing.” November 2020 will mark the 50th anniversary of his 1970 album Tea for the Tillerman. To celebrate, Yusuf reconnected with the album’s original producer, Paul Samwell-Smith, to record a reimagined version of the soft-rock classic, coming out later in 2020. “We thought that we would give Tillerman a nice birthday present,” he says. “People can get to know our jolly little Tillerman again.” Yusuf also created this exclusive Apple Music playlist of songs bringing him joy during lockdown; here, he walks us through some of his favorites.\n\nTom Waits, “Flower’s Grave”\n“There's something about this melody. There’s kind of a 1920s German tilt to this melody. And the fact that he's talking about flowers, kind of like a soul. I think it’s beautiful.”\n\nBob Dylan, “Father of Night”\n“I think he kind of exposes himself more from what he believes instead of being the artful dodger of [the] music business, which he is also. But that song talks about the one who made this all possible—he's talking about God. I just obviously connect with that very much. I did then when it came out. It was just one of my favorite tracks.”\n\nGreen Day, “Know Your Enemy”\n“I chose it because it's rebellion. That's why. It's coming from America, which is even better. They sound English. That also helps.”","short":"“We're kind of surviving, and surviving well.”"}}},{"id":"pl.a2cf3c8230704895a5c3af7902e9f14e","type":"playlists","href":"/v1/catalog/us/playlists/pl.a2cf3c8230704895a5c3af7902e9f14e?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features123/v4/09/0c/21/090c2111-874d-7b9d-d5c0-d07dbeffc78f/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"00b7fa","textColor2":"ff4300","textColor3":"0092c8","textColor4":"cb3600"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-james-blake-the-playlist/pl.a2cf3c8230704895a5c3af7902e9f14e","lastModifiedDate":"2020-05-15T16:32:29Z","name":"At Home With James Blake: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.a2cf3c8230704895a5c3af7902e9f14e","kind":"playlist"},"description":{"standard":"James Blake is easing back into writing new music while he’s socially distancing—even if he has his reservations about releasing a full-fledged album. “I want to see what happens,” Blake tells Apple Music. “In terms of releasing a whole project, I think industry-wise, it's just a strange time. I don't really know what is up or down.” In the meantime, the electronic music producer intends to release a series of stand-alone singles, such as his brand-new track “You’re Too Precious,” which he says straddles the line between his last studio LP, 2019’s Assume Form, and his next official full-length release. On this exclusive playlist curated by Blake, he highlights songs that are keeping him inspired in these strange times, including artists such as Terry Callier, Moses Sumney, Ryuichi Sakamoto, Connan Mockasin, and Chynna—picked with the help of his girlfriend Jameela Jamil. “I really loved her voice and the things she was saying,” Blake says of late Philadelphia rapper Chynna, whose track “mood” he regularly plays on DJ sets. “She recently passed and I was just gutted; me and Jameela both were. I just thought she was incredibly underrated.”","short":"“This isolation period is raising so many questions.”"}}},{"id":"pl.904f59413a5e416aa79adf08c32b55a0","type":"playlists","href":"/v1/catalog/us/playlists/pl.904f59413a5e416aa79adf08c32b55a0?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features123/v4/ad/20/c8/ad20c825-3906-203a-5184-459538ae8888/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"f5d9c9","textColor2":"cfe0e2","textColor3":"c4ada1","textColor4":"a6b3b5"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-haim-the-playlist/pl.904f59413a5e416aa79adf08c32b55a0","lastModifiedDate":"2020-05-15T16:26:17Z","name":"At Home With HAIM: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.904f59413a5e416aa79adf08c32b55a0","kind":"playlist"},"description":{"standard":"LA pop-rock trio HAIM was in the middle of a promotional push for their upcoming album, Women in Music Pt. III, when the pandemic hit. “We had done one week of promo for our album, and within that one week, everything kind of came crumbling down,” vocalist/guitarist Danielle Haim tells Apple Music. “We were just like everyone else, just checking the news every day, and we knew that it probably wasn't the right time to release the album, because we just didn't even know what was going on.” After spending over a month in complete isolation, Danielle and her sisters/bandmates Alana (guitarist/vocalist/keyboardist) and Este (bassist/vocalist) reunited for the first time when they shot the music video for “I Know Alone”; they followed proper social distancing, of course, and were inspired to think of new and creative ways to promote the album. 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Don't check out through all this—be present in it.” During this time, Keenan was going to be on the road supporting TOOL’s 2019’s release Fear Inoculum while gearing up for harvest for the winery he runs in Jerome, Arizona. Instead, he’s happy at his Arizona home taking care of his daughter and appreciating all the fruits he’s planted. 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On this exclusive playlist, which features Grande’s Quarantine Prom selections, she’s included tracks by Troye Sivan, Madonna, Thundercat, and the late Mac Miller. “He was the kind of person who woke up and rolled into the studio, tumbled out of bed and into the studio next door,” she says about Miller. “He was a person who gave literally every single second of his thought and time and life to his music.”","short":"“I have to remember that there is life outside of making stuff.”"}}},{"id":"pl.3fee5ece956d45a3a7497ff4d3f55dda","type":"playlists","href":"/v1/catalog/us/playlists/pl.3fee5ece956d45a3a7497ff4d3f55dda?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features113/v4/e6/3d/fb/e63dfba2-c6c4-bf57-52c9-17dbf94407f7/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"fafafa","textColor2":"e7d4c3","textColor3":"c8c8c8","textColor4":"b8aa9c"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-christine-and-the-queens-the-playlist/pl.3fee5ece956d45a3a7497ff4d3f55dda","lastModifiedDate":"2020-05-11T16:14:58Z","name":"At Home With Christine and the Queens: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.3fee5ece956d45a3a7497ff4d3f55dda","kind":"playlist"},"description":{"standard":"When the pandemic started, Héloïse Letissier, who goes by the name Christine and the Queens, initially felt a burst of creative ambition. “I started like a fighter—I was like, ‘I'm going to make this lockdown thing the most blossoming and artistically relevant thing of all my life,’” the French singer-songwriter tells Apple Music. “I started to write lots of songs and immediately started to fantasize about [my next] record. But I think it's also a coping mechanism.” Then Letissier realized she needed to take a pause; she took a full week to absorb all kinds of art before going back to writing and recording music while she’s sheltering place at her home in Paris. On this exclusive Apple Music playlist curated by Letissier herself, she highlights songs that soothe and inspire her during these challenging times, featuring artists like Kelsey Lu, Fiona Apple, El Perro del Mar, and recently deceased French pop icon Christophe, whom she considers one of her heroes: “He was a wonderful man, really curious until the very end of his life—sometimes more advanced and modern than young people. 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I learned a lot from him.” The twenty one pilots frontman and his bandmates were in the last leg of their Bandito world tour supporting 2018’s Trench when lockdowns began; several dates were canceled. Hunkered down at home, Joseph has maintained a regular routine of writing and recording music. He didn’t hesitate to release twenty one pilots' hopeful new single “Level of Concern,” which he started writing right after his mom casually mentioned she needed some upbeat music to get her mind off the news. On this exclusive Apple Music playlist curated by Joseph himself, he highlights songs that have helped him get through, featuring artists like Ben Folds, Jónsi, Matisyahu, and The Red Jumpsuit Apparatus, whose 2006 track “Your Guardian Angel” was the first song Joseph performed publicly, at one of his high school assemblies. “Man, what a song to try to sing in front of people for the first time,” he says. “I'll never forget driving to school the day of the performance and just singing my heart out in my car, getting there, trying to practice and warm up.”","short":"“I'm excited for what music is going to look like—not just for us, but for everyone.”"}}},{"id":"pl.716a70fa00494162ba84be31ef2b81a2","type":"playlists","href":"/v1/catalog/us/playlists/pl.716a70fa00494162ba84be31ef2b81a2?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features113/v4/ac/06/fe/ac06fea4-6128-8993-6dff-3776f517fd31/source/{w}x{h}cc.jpeg","bgColor":"000000","textColor1":"fafafa","textColor2":"04d12f","textColor3":"c8c8c8","textColor4":"03a726"},"isChart":false,"url":"https://music.apple.com/us/playlist/at-home-with-billie-eilish-the-playlist/pl.716a70fa00494162ba84be31ef2b81a2","lastModifiedDate":"2020-05-01T21:22:41Z","name":"At Home With Billie Eilish: The Playlist","playlistType":"editorial","curatorName":"Apple Music","playParams":{"id":"pl.716a70fa00494162ba84be31ef2b81a2","kind":"playlist"},"description":{"standard":"Billie Eilish was happy to finally see all her hard work pay off after the massive success of her 2019 Grammy-winning debut WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? “I've been going and going as hard as hell for four and a half years now,” Eilish tells Apple Music. “It finally got to a point where it was like, 'Oh my god, things are big.'” The pop singer-songwriter saw the kickoff of her 2020 arena tour, Where Do We Go?, as a celebration for herself and her fans—but it got abruptly postponed once lockdowns began. “I remember being at the airport about to leave for Miami for the first show and the rehearsals, and my mom and Finneas were talking about, 'I bet we'll make one week and then we'll have to come home,'” she says. “It's so unique and it's hard for everybody no matter the circumstance. I wanted to make sure that people that doubted this virus understand it.”\n\nAs she prepares to launch her new Apple Music show me & dad radio, Billie’s been maintaining a healthy balance of rest and activity while she’s hunkered down with her family in Los Angeles. 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The club-ready single—a follow-up to the Kosovan DJ’s viral hit “Ride It”—dials up the grooves for a retro disco feel, as RAYE’s lithe voice adds a dash of a soul. 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During the effervescent hook, she reassures, \"Don't matter what you wear, 'cause we're making it up as we go, just dancing in the dark.\" \"To me, that's such a big theme of this project, the invitation for people to just show up and be who they are,\" Townes tells Apple Music. \"It was really fun to dance around Daniel [Tashian's] studio the day that we wrote it, just imagining people of every kind showing up and coming together.\" This playlist tracks what’s happening from the heart of the country scene to its outer edges. 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The twists and turns of Hamilton’s complex story mirror the deft, sometimes tongue-twisting turns the performers take in their delivery. It’s not all hip-hop; the ’60s-influenced pop of “You’ll Be Back” and the classical influence of “Take a Break” underline Miranda’s range, and it all adds up to a visionary redefinition of musical theater.","short":"American history gets a fascinating hip-hop update on this Broadway soundtrack."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1500345235","type":"albums","href":"/v1/catalog/us/albums/1500345235?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/df/35/5a/df355aa6-edcb-2b68-ed7b-aa562d01049d/886448286899.jpg/{w}x{h}bb.jpeg","bgColor":"100001","textColor1":"efd9b3","textColor2":"d2ceba","textColor3":"c2ad8f","textColor4":"aba595"},"artistName":"HAIM","isSingle":false,"url":"https://music.apple.com/us/album/women-in-music-pt-iii/1500345235","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":16,"isMasteredForItunes":true,"releaseDate":"2020-06-26","name":"Women In Music Pt. III","recordLabel":"Columbia","copyright":"℗ 2020 Haim Productions Inc. under exclusive license to Columbia Records, a Division of Sony Music Entertainment","playParams":{"id":"1500345235","kind":"album"},"editorialNotes":{"standard":"HAIM only had one rule when they started working on their third album: There would be no rules. “We were just experimenting,” lead singer and middle sibling Danielle Haim tells Apple Music. “We didn’t care about genre or sticking to any sort of script. We have the most fun when nothing is off limits.” As a result, Women in Music Pt. III sees the Los Angeles sisters embrace everything from thrillingly heavy guitar to country anthems and self-deprecating R&B. Amid it all, gorgeous saxophone solos waft across the album, transporting you straight to the streets of their hometown on a sunny day. In short, it’s a fittingly diverse effort for a band that's always refused, in the words of Este Haim, to be “put in a box.” “I just hope people can hear how much fun we had making it,” adds Danielle, who produced the album alongside Rostam Batmanglij and Ariel Rechtshaid—a trio Alana Haim describes as “the Holy Trinity.” “We wanted it to sound fun. Everything about the album was just spontaneous and about not taking ourselves too seriously.”
\nYet, as fun-filled as they might be, the tracks on Women in Music Pt. III are also laced with melancholy, documenting the collective rock bottom the Haim sisters hit in the years leading up to the album’s creation. These songs are about depression, seeking help, grief, failing relationships, and health issues (Este has type 1 diabetes). “A big theme in this album is recognizing your sadness and expelling it with a lot of aggression,” says Danielle, who wanted the album to sound as raw and up close as the subjects it dissects. “It feels good to scream it in song form—to me that’s the most therapeutic thing I can do.” Elsewhere, the band also comes to terms with another hurdle: being consistently underestimated as female musicians. (The album’s title, they say, is a playful “invite” to stop asking them about being women in music.) The album proved to be the release they needed from all of those experiences—and a chance to celebrate the unshakable sibling support system they share. “This is the most personal record we’ve ever put out,” adds Alana. “When we wrote this album, it really did feel like collective therapy. We held up a mirror and took a good look at ourselves. It’s allowed us to move on.” Let HAIM guide you through Women in Music Pt. III, one song at a time.
\nLos Angeles\nDanielle Haim: “This was one of the first songs we wrote for the album. It came out of this feeling when we were growing up that Los Angeles had a bad rep. It was always like, ‘Ew, Los Angeles!’ or ‘Fuck LA!’ Especially in 2001 or so, when all the music was coming out of New York and all of our friends ended up going there for college. And if LA is an eyeroll, the Valley—where we come from—is a constant punchline. But I always had such pride for this city. And then when our first album came out, all of a sudden, the opinion of LA started to change and everyone wanted to move here. It felt a little strange, and it was like, ‘Maybe I don’t want to live here anymore?’ I’m waiting for the next mass exodus out of the city and people being like, ‘This place sucks.’ Anyone can move here, but you’ve got to have LA pride from the jump.”
\nThe Steps\nDanielle: “With this album, we were reckoning with a lot of the emotions we were feeling within the business. This album was kind of meant to expel all of that energy and almost be like ‘Fuck it.’ This song kind of encapsulates the whole mood of the record. The album and this song are really guitar-driven [because] we just really wanted to drive that home. Unfortunately, I can already hear some macho dude being like, ‘That lick is so easy or simple.’ Sadly, that’s shit we’ve had to deal with. But I think this is the most fun song we’ve ever written. It’s such a live, organic-sounding song. Just playing it feels empowering.”\nEste Haim: “People have always tried to put us in a box, and they just don’t understand what we do. People are like, ‘You dance and don’t play instruments in your videos, how are you a band?’ It’s very frustrating.”
\nI Know Alone\nDanielle: “We wrote this one around the same time that we wrote ‘Los Angeles,’ just in a room on GarageBand. Este came up with just that simple bassline. And we kind of wrote the melody around that bassline, and then added those 808 drums in the chorus. It’s about coming out of a dark place and feeling like you don't really want to deal with the outside world. Sometimes for me, being at home alone is the most comforting. We shout out Joni Mitchell in this song; our mom was such a huge fan of hers and she kind of introduced us to her music when we were really little. I'd always go into my room and just blast Joni Mitchell super loud. And I kept finding albums of hers as we've gotten older and need it now. I find myself screaming to slow Joni Mitchell songs in my car. This song is very nostalgic for her.”
\nUp From a Dream\nDanielle: “This song literally took five minutes to write, and it was written with Rostam. It’s about waking up to a reality that you just don’t want to face. In a way, I don’t really want to explain it: It can mean so many different things to different people. This is the heaviest song we’ve ever had. It’s really cool, and I think this one will be really fun to play live. The guitar solo alone is really fun.”
\nGasoline\nDanielle: “This was another really quick one that we wrote with Rostam. The song was a lot slower originally, and then we put that breakbeat-y drumbeat on it and all of a sudden it turned into a funky sort of thing, and it really brought the song to life. I love the way that the drums sound. I feel like we really got that right. I was like literally in a cave of blankets, a fort we created with a really old Camco drum set from the ’70s, to make sure we got that dry, tight drum sound. That slowed-down ending is due to Ariel. He had this crazy EDM filter he stuck on the guitar, and I was like, ‘Yes, that’s fucking perfect.’”\nAlana Haim: “I think there were parts of that song where we were feeling sexy. I remember I had gone to go get food, and when I came back Danielle had written the bridge. She was like, ‘Look what I wrote!’ And I was like, ‘Oh! Okay!’”
\n3 AM\nAlana: “It’s pretty self-explanatory—it’s about a booty call. There have been around 10 versions of this song. Someone was having a booty call. It was probably me, to be honest. We started out with this beat, and then we wrote the chorus super quickly. But then we couldn’t figure out what to do in the verses. We’d almost given up on it and then we were like, ‘Let’s just try one last time and see if we can get there.’ I think it was close to 3 am when we figured out the verse and we had this idea of having it introduced by a phone call. Because it is about a booty call. And we had to audition a bunch of dudes. We basically got all of our friends that were guys to be like, ‘Hey, this is so crazy, but can you just pretend to be calling a girl at 3 am?’ We got five or six of our friends to do it, and they were so nervous and sheepish. They were the worst! I was like, ‘Do you guys even talk to girls?’ I think you can hear the amount of joy and laughs we had making this song.”
\nDon’t Wanna\nAlana: “I think this is classic HAIM. It was one of the earlier songs which we wrote around the same time as ‘Now I’m in It.’ We always really, really loved this song, and it always kind of stuck its head out like, ‘Hey, remember me?’ It just sounded so good being simple. We can tinker around with a song for years, and with this one, every time we added something or changed it, it lost the feeling. And every time we played it, it just kind of felt good. It felt like a warm sweater.”
\nAnother Try\nAlana: “I've always wanted to write a song like this, and this is my favorite on the record. The day that we started it, I was thinking that I was going to get back together with the love of my life. I mean, now that I say that, I want to barf, because we're not in a good place now, but at that point we were. We had been on and off for almost 10 years and I thought we were going to give it another try. And it turns out, the week after we finished the song, he had gotten engaged. So the song took on a whole new meaning very quickly. It’s really about the fact I’ve always been on and off with the same person, and have only really had one love of my life. It’s kind of dedicated to him. I think Ariel had a lot of fun producing this song. As for the person it’s about? He doesn’t know about it, but I think he can connect the dots. I don’t think it’s going to be very hard to figure out. The end of the song is supposed to feel like a celebration. We wanted it to feel like a dance party. Because even though it has such a weird meaning now, the song has a hopeful message. Who knows? Maybe one day we’ll figure it out. I am still hopeful.”
\nLeaning on You\nAlana: “This is really a song about finding someone that accepts your flaws. That’s such a rare thing in this world—to find someone you love that accepts you as who you are and doesn't want to change you. As sisters, we are the CEOs of our company: We have super strong personalities and really strong opinions. And finding someone that's okay with that, you would think would be celebrated, but it's actually not. It's really hard to find someone that accepts you and accepts what you do as a job and accepts everything about you. And I think ‘Leaning on You’ is about when you find that person that really uplifts you and finds everything that you do to be incredible and interesting and supports you. It’s a beautiful thing.”\nDanielle: “We wrote this song just us sitting around a guitar. And we just wanted to keep it like that, so we played acoustic guitar straight into the computer for a very dry, unique sound that I love.”
\nI’ve Been Down\nDanielle: “This is the last one we wrote on the album. This was super quick with stream-of-consciousness lyrics. I wanted it to sound like you were in the room, like you were right next to me. That chorus—‘I’ve been down, I’ve been down’—feels good to sing. It's very therapeutic to just kind of scream it in song form. To me, it’s the most therapeutic thing I can do. The backing vocals on this are like the other side of your brain.”
\nMan From the Magazine\nEste: \"When we were first coming out, I guess it was perplexing for some people that I would make faces when I played, even though men have been doing it for years. When they see men do it, they are just, to quote HAIM, ‘in it.’ But of course, when a woman does it, it's unsettling and off-putting and could be misconstrued as something else. We got asked questions about it early on, and there was this one interviewer who asked if I made the faces I made onstage in bed. Obviously he wasn’t asking about when I’m in bed yawning. My defense mechanism when stuff like that happens is just to try to make a joke out of it. So I kind of just threw it back at him and said, ‘Well, there's only one way to find out.’ And of course, there was a chuckle and then we moved on. Now, had someone said that to me, I probably would've punched them in the face. But as women, we're taught kind of just to always be pleasant and be polite. And I think that was my way of being polite and nice. Thank god things are changing a bit. We've been talking about shit like this forever, but I think now, finally, people are able to listen more intently.”\nDanielle: “We recorded this song in one take. We got the feeling we wanted in the first take. The first verse is Este's super specific story, and then, on the second verse, it feels very universal to any woman who plays music about going into a guitar store or a music shop and immediately either being asked, ‘Oh, do you want to start to play guitar?’ or ‘Are you looking for a guitar for your boyfriend?’ And you're like, ‘What the fuck?’ It's the worst feeling. And I've talked to so many other women about the same experience. Everyone's like, ‘Yeah, it's the worst. I hate going in the guitar stores.’ It sucks.”
\nAll That Ever Mattered\nAlana: “This is one of the more experimental songs on the record. Whatever felt good on this track, we just put it in. And there’s a million ways you could take this song—it takes on a life of its own and it’s kind of chaotic. The production is bananas and bonkers, but it did really feel good.”\nDanielle: “It’s definitely a different palette. But to us it was exciting to have that crazy guitar solo and those drums. It also has a really fun scream on it, which I always like—it’s a nice release.”
\nFUBT\nAlana: “This song was one of the ones that was really hard to write. It’s about being in an emotionally abusive relationship, which all three of us have been in. It’s really hard to see when you're in something like that. And the song basically explains what it feels like and just not knowing how to get out of it. You're just kind of drowning in this relationship, because the highs are high and the lows are extremely low. You’re blind to all these insane red flags because you’re so immersed in this love. And knowing that you're so hard on yourself about the littlest things. But your partner can do no wrong. When we wrote this song, we didn’t really know where to put it. But it felt like the end to the chapter of the record—a good break before the next songs, which everyone knew.”
\nNow I’m in It\nDanielle: “This song is about feeling like you're in something and almost feeling okay to sit in it, but also just recognizing that you're in a dark place. I was definitely in a dark place, and it was just like I had to look at myself in the mirror and be like, ‘Yeah, this is fucked up. And you need to get your shit together and you need to look it in the face and know that you're here and work on yourself.’ After writing this song I got a therapist, which really helped me.”
\nHallelujah\nAlana: “This song really did just come from wanting to express how important it is to have the love of your family. We're very lucky that we each have two sisters as backup always. We wrote this with our friend Tobias Jesso Jr., and we all just decided to write verses separately, which is rare for us. I think we each wanted to have our own take on the lyric ‘Why me, how'd I get this hallelujah’ and what it meant to each of us. I wrote about losing a really close friend of mine at such a young age and going through a tragedy that was unexplainable. I still grapple with the meaning of that whole thing. It was one of the hardest times in my life, and it still is, but I was really lucky that I had two siblings that were really supportive during that time and really helped me get through it. If you talk to anybody that loses someone unexpectedly, you really do become a different person. I feel like I've had two chapters of my life at this point: before it happened and after it happened. And I’ve always wanted to thank my sisters at the same time because they were so integral in my healing process going through something so tragic.”
\nSummer Girl\nAlana: This song is collectively like our baby. Putting it out was really fun, but it was also really scary, because we were coming back and we didn’t know how people were going to receive it. We’d played it to people and a lot of them didn’t really like it. But we loved everything about it. You can lose your confidence really quickly, but thankfully, people really liked it. Putting out this song really did give us back our confidence.”\nDanielle: “I've talked about it a lot, but this song is about my boyfriend getting cancer a couple of years ago, and it was truly the scariest thing that I have ever been through. I just couldn't stop thinking about how he was feeling. I get spooked really easily, but I felt like I had to buck the fuck up and be this kind of strong figure for him. I had to be this kind of sunshine, which was hard for me, but I feel like it really helped him. And that’s kind of where this song from. Being the summer when he was just in this dark, dark place.”","short":"“This album felt like collective therapy. It’s allowed us to move on.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1501585499","type":"albums","href":"/v1/catalog/us/albums/1501585499?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music114/v4/ba/ac/bb/baacbbc5-8a9a-b88d-9fdb-fc8b514b4ae9/656605149363.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"fbb897","textColor2":"bacb89","textColor3":"c99379","textColor4":"95a26d"},"artistName":"Khruangbin","isSingle":false,"url":"https://music.apple.com/us/album/mordechai/1501585499","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2020-06-26","name":"Mordechai","recordLabel":"Dead Oceans","copyright":"℗ 2020 Dead Oceans, Inc. In Association with Night Time Stories, Ltd.","playParams":{"id":"1501585499","kind":"album"},"editorialNotes":{"standard":"Over the last decade, Khruangbin (pronounced “krung-bin”) has mastered the art of setting a mood, of creating atmosphere. But on Mordechai, follow-up to their 2018 breakthrough Con Todo El Mundo, the Houston trio makes space in their globe-spinning psych-funk for something that’s been largely missing until now: vocals. The result is their most direct work to date. From the playground disco of “Time (You and I)” to the Latin rhythms of “Pelota”—inspired by a Japanese film, but sung in Spanish—to the balmy reassurances of “If There Is No Question,” much of Mordechai has the immediacy of an especially adventurous pop record. Even moments of hallucinogenic expanse (“One to Remember”) or haze (“First Class”) benefit from the added presence of a human voice. “Never enough paper, never enough letters,” they sing from inside a shower of West African guitar notes on “So We Won’t Forget,” the album’s high point. “You don’t have to be silent.”","short":"On their new LP, the Houston psych trio prove they can sing, too."},"isCompilation":false}},{"id":"1504699857","type":"albums","href":"/v1/catalog/us/albums/1504699857?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/40/50/54/40505411-4013-d538-605f-9589cd2e1741/656605150062.jpg/{w}x{h}bb.jpeg","bgColor":"061c2f","textColor1":"a4c8da","textColor2":"fd1d27","textColor3":"84a6b8","textColor4":"cb1d28"},"artistName":"Phoebe Bridgers","isSingle":false,"url":"https://music.apple.com/us/album/punisher/1504699857","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2020-06-18","name":"Punisher","recordLabel":"Dead Oceans","copyright":"℗ 2020 Dead Oceans","playParams":{"id":"1504699857","kind":"album"},"editorialNotes":{"standard":"If there is a recurring theme to be found in Phoebe Bridgers’ second solo LP, “it’s the idea of having these inner personal issues while there's bigger turmoil in the world—like a diary about your crush during the apocalypse,” she tells Apple Music. “I’ll torture myself for five days about confronting a friend, while way bigger shit is happening. It just feels stupid, like wallowing. But my intrusive thoughts are about my personal life.” Recorded when she wasn’t on the road—in support of 2017’s Stranger in the Alps and collaborative releases with Lucy Dacus and Julien Baker (boygenius) in 2018 and with Conor Oberst (Better Oblivion Community Center) in 2019—Punisher is a set of folk and bedroom pop that’s at once comforting and haunting, a refuge and a fever dream. “Sometimes I'll get the question, like, ‘Do you identify as an LA songwriter?’ Or ‘Do you identify as a queer songwriter?’ And I'm like, ‘No. I'm what I am,’” the Pasadena native says. “The things that are going on are what's going on, so of course every part of my personality and every part of the world is going to seep into my music. But I don't set out to make specific things—I just look back and I'm like, ‘Oh. That's what I was thinking about.’” Here, Bridgers takes us inside every song on the album.
\nDVD Menu\n“It's a reference to the last song on the record—a mirror of that melody at the very end. And it samples the last song of my first record—‘You Missed My Heart’—the weird voice you can sort of hear. It just felt rounded out to me to do that, to lead into this album. Also, I’ve been listening to a lot of Grouper. There’s a note in this song: Everybody looked at me like I was insane when I told Rob Moose—who plays strings on the record—to play it. Everybody was like, ‘What the fuck are you taking about?’ And I think that's the scariest part of it. I like scary music.”
\nGarden Song\n“It's very much about dreams and—to get really LA on it—manifesting. It’s about all your good thoughts that you have becoming real, and all the shitty stuff that you think becoming real, too. If you're afraid of something all the time, you're going to look for proof that it happened, or that it's going to happen. And if you're a miserable person who thinks that good people die young and evil corporations rule everything, there is enough proof in the world that that's true. But if you're someone who believes that good people are doing amazing things no matter how small, and that there's beauty or whatever in the midst of all the darkness, you're going to see that proof, too. And you’re going to ignore the dark shit, or see it and it doesn't really affect your worldview. It's about fighting back dark, evil murder thoughts and feeling like if I really want something, it happens, or it comes true in a totally weird, different way than I even expected.”
\nKyoto\n“This song is about being on tour and hating tour, and then being home and hating home. I just always want to be where I'm not, which I think is pretty not special of a thought, but it is true. With boygenius, we took a red-eye to play a late-night TV show, which sounds glamorous, but really it was hurrying up and then waiting in a fucking backstage for like hours and being really nervous and talking to strangers. I remember being like, 'This is amazing and horrible at the same time. I'm with my friends, but we're all miserable. We feel so lucky and so spoiled and also shitty for complaining about how tired we are.' I miss the life I complained about, which I think a lot of people are feeling. I hope the parties are good when this shit [the pandemic] is over. I hope people have a newfound appreciation for human connection and stuff. I definitely will for tour.”
\nPunisher \n“I don't even know what to compare it to. In my songwriting style, I feel like I actually stopped writing it earlier than I usually stop writing stuff. I usually write things five times over, and this one was always just like, ‘All right. This is a simple tribute song.’ It’s kind of about the neighborhood [Silver Lake in Los Angeles], kind of about depression, but mostly about stalking Elliott Smith and being afraid that I'm a punisher—that when I talk to my heroes, that their eyes will glaze over. Say you're at Thanksgiving with your wife's family and she's got an older relative who is anti-vax or just read some conspiracy theory article and, even if they're sweet, they're just talking to you and they don't realize that your eyes are glazed over and you're trying to escape: That’s a punisher. The worst way that it happens is like with a sweet fan, someone who is really trying to be nice and their hands are shaking, but they don't realize they're standing outside of your bus and you're trying to go to bed. And they talk to you for like 45 minutes, and you realize your reaction really means a lot to them, so you're trying to be there for them, too. And I guess that I'm terrified that when I hang out with Patti Smith or whatever that I'll become that for people. I know that I have in the past, and I guess if Elliott was alive—especially because we would have lived next to each other—it’s like 1000% I would have met him and I would have not known what the fuck I was talking about, and I would have cornered him at Silverlake Lounge.”
\nHalloween\n“I started it with my friend Christian Lee Hutson. It was actually one of the first times we ever hung out. We ended up just talking forever and kind of shitting out this melody that I really loved, literally hanging out for five hours and spending 10 minutes on music. It's about a dead relationship, but it doesn't get to have any victorious ending. It's like you're bored and sad and you don't want drama, and you're waking up every day just wanting to have shit be normal, but it's not that great. He lives right by Children's Hospital, so when we were writing the song, it was like constant ambulances, so that was a depressing background and made it in there. The other voice on it is Conor Oberst’s. I was kind of stressed about lyrics—I was looking for a last verse and he was like, ‘Dude, you're always talking about the Dodger fan who got murdered. You should talk about that.’ And I was like, 'Jesus Christ. All right.' The Better Oblivion record was such a learning experience for me, and I ended up getting so comfortable halfway through writing and recording it. By the time we finished a whole fucking record, I felt like I could show him a terrible idea and not be embarrassed—I knew that he would just help me. Same with boygenius: It's like you're so nervous going in to collaborating with new people and then by the time you're done, you're like, ‘Damn, it'd be easy to do that again.’ Your best show is the last show of tour.”
\nChinese Satellite \n“I have no faith—and that's what it's about. My friend Harry put it in the best way ever once. He was like, ‘Man, sometimes I just wish I could make the Jesus leap.’ But I can't do it. I mean, I definitely have weird beliefs that come from nothing. I wasn't raised religious. I do yoga and stuff. I think breathing is important. But that's pretty much as far as it goes. I like to believe that ghosts and aliens exist, but I kind of doubt it. I love science—I think science is like the closest thing to that that you’ll get. If I'm being honest, this song is about turning 11 and not getting a letter from Hogwarts, just realizing that nobody's going to save me from my life, nobody's going to wake me up and be like, ‘Hey, just kidding. Actually, it's really a lot more special than this, and you're special.’ No, I’m going to be the way that I am forever. I mean, secretly, I am still waiting on that letter, which is also that part of the song, that I want someone to shake me awake in the middle of the night and be like, ‘Come with me. It's actually totally different than you ever thought.’ That’d be sweet.”
\nMoon Song\n“I feel like songs are kind of like dreams, too, where you're like, ‘I could say it's about this one thing, but...’ At the same time it’s so hyper-specific to people and a person and about a relationship, but it's also every single song. I feel complex about every single person I've ever cared about, and I think that's pretty clear. The through line is that caring about someone who hates themselves is really hard, because they feel like you're stupid. And you feel stupid. Like, if you complain, then they'll go away. So you don't complain and you just bottle it up and you're like, ‘No, step on me again, please.’ It’s that feeling, the wanting-to-be-stepped-on feeling.”
\nSavior Complex \n“Thematically, it's like a sequel to ‘Moon Song.’ It's like when you get what you asked for and then you're dating someone who hates themselves. Sonically, it's one of the only songs I've ever written in a dream. I rolled over in the middle of the night and hummed—I’m still looking for this fucking voice memo, because I know it exists, but it's so crazy-sounding, so scary. I woke up and knew what I wanted it to be about and then took it in the studio. That's Blake Mills on clarinet, which was so funny: He was like a little schoolkid practicing in the hallway of Sound City before coming in to play.”
\nI See You\n“I had that line [‘I've been playing dead my whole life’] first, and I've had it for at least five years. Just feeling like a waking zombie every day, that's how my depression manifests itself. It's like lethargy, just feeling exhausted. I'm not manic depressive—I fucking wish. I wish I was super creative when I'm depressed, but instead, I just look at my phone for eight hours. And then you start kind of falling in love and it all kind of gets shaken up and you're like, ‘Can this person fix me? That'd be great.’ This song is about being close to somebody. I mean, it's about my drummer. This isn't about anybody else. When we first broke up, it was so hard and heartbreaking. It's just so weird that you could date and then you're a stranger from the person for a while. Now we're super tight. We're like best friends, and always will be. There are just certain people that you date where it's so romantic almost that the friendship element is kind of secondary. And ours was never like that. It was like the friendship element was above all else, like we started a million projects together, immediately started writing together, couldn't be apart ever, very codependent. And then to have that taken away—it’s awful.”
\nGraceland Too\n“I started writing it about an MDMA trip. Or I had a couple lines about that and then it turned into stuff that was going on in my life. Again, caring about someone who hates themselves and is super self-destructive is the hardest thing about being a person, to me. You can't control people, but it's tempting to want to help when someone's going through something, and I think it was just like a meditation almost on that—a reflection of trying to be there for people. I hope someday I get to hang out with the people who have really struggled with addiction or suicidal shit and have a good time. I want to write more songs like that, what I wish would happen.”
\nI Know the End\n“This is a bunch of things I had on my to-do list: I wanted to scream; I wanted to have a metal song; I wanted to write about driving up the coast to Northern California, which I’ve done a lot in my life. It's like a super specific feeling. This is such a stoned thought, but it feels kind of like purgatory to me, doing that drive, just because I have done it at every stage of my life, so I get thrown into this time that doesn't exist when I'm doing it, like I can't differentiate any of the times in my memory. I guess I always pictured that during the apocalypse, I would escape to an endless drive up north. It's definitely half a ballad. I kind of think about it as, ‘Well, what genre is [My Chemical Romance’s] “Welcome to the Black Parade” in?’ It's not really an anthem—I don't know. I love tricking people with a vibe and then completely shifting. I feel like I want to do that more.”","short":"“Like a diary about your crush during the apocalypse.”"},"isCompilation":false}},{"id":"1519956597","type":"albums","href":"/v1/catalog/us/albums/1519956597?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/92/5b/b1/925bb142-2511-2c8f-0723-16fa466b7a89/192641519727_Cover.jpg/{w}x{h}bb.jpeg","bgColor":"262d37","textColor1":"83c6da","textColor2":"62b7d6","textColor3":"71a7b9","textColor4":"569cb6"},"artistName":"Natanael Cano","isSingle":false,"url":"https://music.apple.com/us/album/trap-tumbado/1519956597","isComplete":true,"genreNames":["Latino","Music"],"trackCount":8,"isMasteredForItunes":false,"releaseDate":"2020-06-26","name":"Trap Tumbado","recordLabel":"Rancho Humilde","copyright":"℗ 2020 Rancho Humilde","playParams":{"id":"1519956597","kind":"album"},"editorialNotes":{"standard":"Even before breaking out with the criminally minded hit “Soy el Diablo,” Natanael Cano was clearly looking to trap music for inspiration. “Of course it was something very important both in my career and my life,” he tells Apple Music about the Bad Bunny remix that helped the track blow up. Between that cosign and the game-changing single “Arriba,” it seemed only a matter of time before the regional Mexican scene’s most buzzed-about young star would deliver a project like this. As its title so bluntly indicates, Trap Tumbado marks his formal foray into the popular hip-hop subgenre. “I am inspired by the bars used in the two genres,” he tells Apple Music of the crossover. “They are very similar, so I feel like I can dominate it.”
\nWhile countless artists have made bold lateral moves in their careers, with varying degrees of success, Cano comes across effortlessly—a natural-born trapero whose hedonistic and narcotized lifestyle flows through tracks like “La Reina” and the boss anthem “Me Tira por el Phone.” Though topically in line with his work on the Corridos Tumbados volumes, here he retains the production services of Pharmacy and Play-N-Skillz, among others, to keep the vibes authentic. “I love their sound,” he says of the latter duo. “Their beats are so hard.” New York hitmaker Lil Tecca guests on “Dime Pa’ Qué,” a perfectly timed collaboration that mixes Cano’s devilish tendencies with Tecca’s luxurious ones. Ultimately, Trap Tumbado acts as a subtle yet direct warning to the Spanish-language rappers out there, lest they get too comfortable in their current positions.","short":"“I am inspired by the bars used in the two genres.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1496872374","type":"albums","href":"/v1/catalog/us/albums/1496872374?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/b4/d3/0e/b4d30e3b-5ffc-d71e-3839-b203ab94b84c/886448274698.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"dde2a7","textColor2":"c4c079","textColor3":"b1b586","textColor4":"9d9961"},"artistName":"Lamb of God","isSingle":false,"url":"https://music.apple.com/us/album/lamb-of-god/1496872374","isComplete":true,"genreNames":["Metal","Music","Rock"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2020-06-19","name":"Lamb of God","recordLabel":"Epic","copyright":"℗ 2020 Epic Records, a division of Sony Music Entertainment","playParams":{"id":"1496872374","kind":"album"},"editorialNotes":{"standard":"“This is the new abnormal!” Lamb of God vocalist Randy Blythe screams on “Reality Bath,” a particularly ferocious track on the band’s long-awaited follow-up to 2015’s VII: Sturm und Drang. It’s a fitting sentiment for the Virginia metal squad’s first record without co-founder and drummer Chris Adler, who split in 2019. Propelled by the dexterous drumming of new member Arturo Cruz (Prong/Winds of Plague), venomous cuts like “Memento Mori,” “Checkmate,” and “New Colossal Hate” showcase the band’s groove metal mastery. “Art has brought a more youthful energy, which is something our old selves need, because I’m pushing 50 and I can get set in my curmudgeonly ways,” Blythe tells Apple Music. “But at the same time, there’s nothing at all new about the writing process. The same guys who always wrote the music wrote the music this time. So in a sense there’s absolutely nothing different.” Lyrically, Blythe spits sociopolitical epithets all over Lamb of God, even bringing in Hatebreed’s Jamey Jasta and Testament’s Chuck Billy to join him on “Poison Dream” and “Routes,” respectively. “I wrote this record thinking about the mess that is modern-day life,” Blythe explains. “The information overload and the shallow pursuit of wealth and material goods as status symbols have led to an entirely false idea that having these things is going to bring you some sort of inner peace or well-being or happiness—and it's a load of bullshit.” Below, he unpacks some of the album’s key tracks.
\nMemento Mori\n“I wrote this song as a reminder for myself to not get stuck in this crazy morass of digital doom and gloom—all the biased news and social media stuff—and get out and really make the most of today. Because when I’m laying on my deathbed, if I have regrets, if I have things I wanted to do that I did not do, I don't want to sit there and be like, ‘God, I wish I hadn't spent so much time on Twitter. That sucks. I could have gone to Africa or the jungle. I could have written another book or something. But no, I spent eight hours a day on Twitter.’ Which I don’t do, by the way.”
\nCheckmate\n“This is about our subpar political system. The two-party system is just a nightmare, particularly given the divisiveness of— not just right now, but for years now. And it’s not just whoever’s in the Oval Office, but in Congress that really chaps my ass. When Congress manages to agree on something like a relief package to help people who are suffering right now economically in this pandemic, you’ll see news stories about how the bipartisan agreement is some huge victory—that two political parties agreed on something for the good of the American people. That shouldn’t be a special occasion for celebration. But it is now, because everybody politicizes everything. So the lyrics talk about how people are so entrenched ideologically now on one side or the other, but life is not that black and white. There’s shades of gray.”
\nPoison Dream (feat. Jamey Jasta)\n“I was looking up stuff about water pollution one day and I realized that every single place I’ve ever lived has had horrific water pollution. Everywhere we need water to survive, but people are poisoning it in the name of commerce. And these companies can do this because they're making so much money. It's not that the EPA is not finding them—some of these places just have enough money to pay the fines. So that’s where I’m coming from in the song. Not far from where Jamey lives, there’s a plant that dumps all this pollution in the water too. We were talking about that, and I’ve wanted him to be on a Lamb of God record for a long time—he’s a dear friend of the band, and I just love him as a person. I thought he’d be perfect for this song, and luckily he agreed to do it.”
\nRoutes (feat. Chuck Billy)\n“I went to Standing Rock, North Dakota, during the NODAPL movement, which of course was held on the Standing Rock Sioux Reservation. It started with just a few women and children trying to protect their water source, and then soon people from other Indigenous nations joined them. I went there to support them and bring supplies. I was out there for about a week, and it was a very profound experience because of the way these people were being treated by both the government and the private security corporations that were hired to protect the interests of this freaking oil company. If that had happened anywhere in a city or even a suburb that wasn’t the middle of nowhere, North Dakota, and it wasn’t Native American land, there would’ve been massive riots. Naturally, I wanted to write a song about my experience there, but because it was an Indigenous-led movement it felt super important for me to have an Indigenous voice on it. Chuck Billy is a member of the Pomo Indian tribe, and he’s a dear friend. We’d talked about the situation before, so I reached out to him and he said yeah. It worked out really great, and this one’s for the Natives.”","short":"“I wrote this record thinking about the mess that is modern-day life.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1519060445","type":"albums","href":"/v1/catalog/us/albums/1519060445?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/f8/74/ec/f874ec7c-89f4-365a-78c8-3f75ec121537/20UMGIM44013.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"050c22","textColor1":"dee5e3","textColor2":"bbc4d2","textColor3":"b3babc","textColor4":"97a0af"},"artistName":"6LACK","isSingle":false,"url":"https://music.apple.com/us/album/6pc-hot-ep/1519060445","isComplete":true,"genreNames":["R&B/Soul","Music"],"trackCount":6,"isMasteredForItunes":true,"releaseDate":"2020-06-26","name":"6pc Hot EP","recordLabel":"LVRN/Interscope Records","copyright":"℗ 2020 LVRN/Interscope Records","playParams":{"id":"1519060445","kind":"album"},"editorialNotes":{"standard":"Atlanta crooner 6LACK didn’t hurt for work in the roughly two years between 2018’s East Atlanta Love Letter and the 6pc Hot EP. He has guested on what is very likely only a fraction of the requests he received in that time, but fans would find scene-stealing verses across projects from Summer Walker, Snoh Aalegra, and the Dreamville crew, among others. With 6pc Hot, though, he delivers six songs that are resolutely of the 6LACK brand and also the current moment. Songs like “ATL Freestyle,” “Long Nights,” and “Elephant in the Room\" showcase the sugary slick talk and Southern charm we know, while “Outside” is a lovelorn idealist’s rumination on social distancing. Fellow Atlantan Lil Baby is the project’s sole guest, on “Know My Rights,” the pair emphasizing how hard they both work over twinkling bells and plodding 808 rumble.","short":"An order sure to satisfy a late-night craving."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1518693940","type":"albums","href":"/v1/catalog/us/albums/1518693940?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/ae/eb/fc/aeebfce8-63ea-7451-543c-50e28bd7d455/194690249556_cover.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"9cc5ae","textColor2":"f3435b","textColor3":"7c9e8b","textColor4":"c23648"},"artistName":"August Alsina","isSingle":false,"url":"https://music.apple.com/us/album/the-product-iii-stateofemergency/1518693940","isComplete":true,"genreNames":["R&B/Soul","Music"],"trackCount":27,"isMasteredForItunes":false,"releaseDate":"2020-06-26","name":"The Product III: stateofEMERGEncy","recordLabel":"Shake the World / EMPIRE","copyright":"℗ 2020 Shake the World / EMPIRE","playParams":{"id":"1518693940","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1511168569","type":"albums","href":"/v1/catalog/us/albums/1511168569?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music113/v4/c0/7b/4f/c07b4f34-9537-5c04-2c13-b860ceec4568/4050538621075.jpg/{w}x{h}bb.jpeg","bgColor":"b80d6d","textColor1":"faf9f7","textColor2":"fff206","textColor3":"edcadb","textColor4":"f0c41a"},"artistName":"Run The Jewels","isSingle":false,"url":"https://music.apple.com/us/album/rtj4/1511168569","isComplete":false,"genreNames":["Hip-Hop/Rap","Music","Hardcore Rap","Alternative Rap","Dirty South","Rap","Underground Rap"],"trackCount":11,"isMasteredForItunes":true,"releaseDate":"2020-06-03","name":"RTJ4","recordLabel":"BMG Rights Management (US) LLC","copyright":"℗ 2020 Jewel Runners LLC under exclusive license to BMG Rights Management (US) LLC","playParams":{"id":"1511168569","kind":"album"},"editorialNotes":{"standard":"Released in June 2020 as American cities were rupturing in response to police brutality, the fourth album by rap duo Run The Jewels uses the righteous indignation of hip-hop's past to confront a combustible present. Returning with a meaner boom and pound than ever before, rappers Killer Mike and EL-P speak venom to power, taking aim at killer cops, warmongers, the surveillance state, the prison-industrial complex, and the rungs of modern capitalism. The duo has always been loyal to hip-hop's core tenets while forging its noisy cutting edge, but RTJ4 is especially lithe in a way that should appeal to vintage heads—full of hyperkinetic braggadocio and beats that sound like sci-fi remakes of Public Enemy's Apocalypse 91. Until the final two tracks there's no turn-down, no mercy, and nothing that sounds like any rap being made today. The only guest hook comes from Rock & Roll Hall of Famer Mavis Staples on \"pulling the pin,\" a reflective song that connects the depression prevalent in modern rap to the structural forces that cause it.
\nUntil then, it’s all a tires-squealing, middle-fingers-blazing rhymefest. Single \"ooh la la\" flips Nice & Smooth's Greg Nice from the 1992 Gang Starr classic \"DWYCK\" into a stomp closed out by a DJ Premier scratch solo. \"out of sight\" rewrites the groove of The D.O.C.'s 1989 hit \"It's Funky Enough\" until it treadmills sideways, and guest 2 Chainz spits like he just went on a Big Daddy Kane bender. A churning sample from lefty post-punks Gang of Four (\"the ground below\") is perfectly on the nose for an album brimming with funk and fury, as is the unexpected team-up between Pharrell and Zack de la Rocha (\"JU$T\"). Most significant, however, is \"walking in the snow,\" where Mike lays out a visceral rumination on police violence: \"And you so numb you watch the cops choke out a man like me/Until my voice goes from a shriek to whisper, 'I can't breathe.'\"","short":"Killer Mike and EL-P’s fourth LP is an incendiary soundtrack to this moment."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1512283811","type":"albums","href":"/v1/catalog/us/albums/1512283811?l=en-US","attributes":{"artwork":{"width":5000,"height":5000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/42/a8/fd/42a8fdea-d4d3-a285-763e-9ad49839e56a/886448413370.jpg/{w}x{h}bb.jpeg","bgColor":"d39b60","textColor1":"0b0507","textColor2":"30170f","textColor3":"332319","textColor4":"51311f"},"artistName":"Chloe x Halle","isSingle":false,"url":"https://music.apple.com/us/album/ungodly-hour/1512283811","isComplete":true,"genreNames":["R&B/Soul","Music"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2020-06-12","name":"Ungodly Hour","recordLabel":"Parkwood Entertainment/Columbia","copyright":"℗ 2020 Parkwood Entertainment LLC, under exclusive license to Columbia Records, a Division of Sony Music Entertainment","playParams":{"id":"1512283811","kind":"album"},"editorialNotes":{"standard":"The harmonies that Chloe and Halle Bailey conjure sound like heaven. It's what got them tens of millions of views on YouTube; it's what eventually attracted Beyoncé's attention; and it's what continues to make them a force on their second album, Ungodly Hour. The duo experiments with a multitude of sounds and textures—many of their own making—while keeping their voices centered and striking as ever. Where their 2018 debut The Kids Are Alright played up an almost angelism that connected that moment to their origins as child stars, this new project is about maturation—both musically and otherwise. “I feel like we were more sure of ourselves, more sure of our messaging and what we wanted to get across in just showing that it's okay to have flaws and insecurities and show all the layers of what makes you beautiful,” Halle tells Apple Music. “I feel like we've come a long way and in our growth as young women, and you'd definitely be able to hear that in the music.” This time around, they're owning their sexuality and, along with it, the messiness that comes with being an adult and trying to figure out your place. On its face, Ungodly Hour is an uplifting album, but it doesn't shy away from the darker feelings that come along the way. “A lot of the world sees us as like little perfect angels, and we want to show the different layers of us,” Chloe says. “We're not perfect. We're growing into grown women, and we wanted to show all of that.” Here the sisters break down each song on their second album.
\nIntro\nHalle: “This intro was made after we had finished making ‘Forgive Me.’ We thought about how we wanted to open this album, because our musicianship and musical integrity is always super-duper important to us, and we never want to lose the essence of who we are in trying to also make some songs that are a bit more mainstream. It felt like us being us completely and just drowning everyone in harmonies like we love to and just playing around. That was our time to play and to open the album with something that will make people's ears perk up as well as allow us to have so much fun creatively.”\nChloe: “And the reason why we wanted to say the phrase ‘Don't ask for permission, ask for forgiveness’ is because that was a statement that wrapped and concluded the whole album. We should never have to apologize for being ourselves. You should never apologize for who you are or any of your imperfections, and you don't need to get permission from the world to be yourself.”
\nForgive Me\nChloe: “I love it because it's so badass, and it's taking your power back and not feeling like your self-worth is in the trash. I remember we were all in the studio with [songwriter] Nija [Charles] and [producer] Sounwave, and for me personally, I was going through a situation where I was dealing with a guy and he picked someone else over me, and it really bothered me because I felt like it wasn't done in the most honest light. I like to be told things up front. And so when we were all in the session, this had just happened to me. I went in the booth and laid down some melodies, and some of the words came in, and then Halle went in and she sang ‘forgive me,’ and I thought that was so strong and powerful, and Nija laid down some melodies. We kind of constructed it as a puzzle in a way. It felt so good—it felt like we were taking our power back, like, ‘Forgive me for not caring and giving you that energy to control me and make me sad.’”
\nBaby Girl\nHalle: “‘Baby Girl’ is a girl empowerment song, but our perspective when we were writing the song, personally, for me, it was a message that I needed to remind myself of. I remember we wrote this song in Malibu. We decided for the day after Christmas, we wanted to rent an Airbnb, and we wanted to just go out there with no parents and be by the beach and bring our gear and just create. And I remember at that time I was just feeling a little bit down, and I just needed that pick-me-up. So I started writing these lyrics about how I was feeling, how everybody makes it looks so easy and how everything that you see—it seems real, but is it really? So that was definitely an encouraging, empowering song that we wanted other girls to relate to and play when they needed that messaging—when you're feeling overwhelmed and insecure and you're just like, 'Okay, what's next?' Like, nope, snap out of it. You're amazing.”
\nDo It\nChloe: “We just love the energy of that record. It feels so lighthearted and fun but simple and complex at the same time. We worked with Victoria Monét and Scott Storch on this one, and when we were creating it, we were just vibing out and feeling good. Our intention whenever we create is never to make that hit song or that single, because whenever you kind of go into that mindset, that's when you kind of stifle your creativity, and there's really nowhere to go. So we were just all having fun and vibing out, and we were just going to throw whatever to the wall and see what sticks. After we created the song, about two weeks later, we were listening to it and we were like, 'Uh-oh, we're really kind of feeling this. It feels really, really good.' And we decided that that would be one that we would shoot a video to, and it just kind of made a life of its own. I'm always happy when our music is well received, and it just makes us happy also seeing people online dancing to it and doing the dance we did in the music video. It's really exceeding all of our expectations.”
\nTipsy\nHalle: “‘Tipsy’ was such a fun record to write. My beautiful sister did this amazing production that just brought it to a whole nother level. I remember when we were first starting out the song, I was playing like these sort of country-sounding guitar chords that kind of had a little cool swing to it, and then we just started writing. We were thinking about when we're so in love, how our hearts are just open and how the other person in the relationship really has the power to break your heart. They have that power, and you're open and you're hoping nothing goes wrong. It's kind of like a warning to them: If you break my heart, if you don't do what you're supposed to do, yes, I will go after you, and yes, this will happen. Of course it's an exaggeration—we would never actually kill somebody over that. But we just wanted to voice how it's very important to take care of our hearts and that when we give a piece of ourselves, we want them to give a piece of themselves as well. It's a playful song, so we think a lot of people will have fun with that one.”
\nUngodly Hour\nChloe: “I believe it was Christmas of 2018, and we knew that we wanted to start on this album. With anything, we're very visual, so we got a bunch of magazines, and we got like three posters we duct-taped together, and we made our mood board. There was a phrase that we found in a magazine that said 'the trouble with angels' that really stuck out with us. We put that on the board, and we put a lot of women on there who didn't really have many clothes on because we wanted this album to express our sexuality. Halle's 20, I'm 22. We just wanted to show that we can own our sexuality in a beautiful way as young women and it's okay to own that. So fast-forward a few months, and we were in the session with Disclosure. Whenever my sister and I create lyrics, sometimes we're inspired randomly on the day and we'll hear a phrase or something. I forgot what I was doing or what I was watching, but I heard the phrase 'ungodly hour' and I wrote it in my notes really quick. So when we were all in a session together, we were putting our minds together, like, what can we say with that? And we came up with the phrase 'Love me at the ungodly hour.' Love me at my worst. Love me when I'm not the best version of myself. And the song kind of wrote itself really fast. It's about being in a situationship with someone who isn't ready to fully commit or settle down with you, but the connection is there, the chemistry is there, it's so electric. But being the woman, you know your self-worth and you know what you won't accept. So it's like, if you want all of me, then you need to come correct. And I love how simple and groovy the beat feels, and how the vocals kind of just rock on top of it. It feels so vibey.”
\nBusy Boy\nHalle: “So ‘Busy Boy’ is another very playful love song. The inspiration for it basically came from our experiences, kiki-ing with our girls, when we have those moments where we're all gossiping and talking about what's going on in our lives. This one dude comes up, and we all know him because he is so fine and he's tried to holler at all of us. It was such a fun story to ride off of, because we have had those moments where—'cause we're friends with a lot of beautiful black girls, and we're all doing our thing, and the same guy who is really successful or cute will hop around trying to get at each of us. So that was really funny to talk about, and also to talk about the bonding of sisterhood, of just saying all this stuff about this guy to make ourselves feel better. I mean, because at the end of the day, we have to remind ourselves that even though you may be cute, even though you may be trying to get my attention, I know that you're just a busy boy, and I'm going to keep it moving.”
\nOverwhelmed\nChloe: “Halle and I really wanted to have interludes on this album, and we were kind of going through all of the projects and files that were on my hard drive listening on our speakers in our studio. This came up and we were like, wow. The lyrics really resonated with us, and we forgot we even wrote it. We went and reopened the project and laid down so many more harmonies on top of it. We just wanted it to kind of feel like that breath in the album, because there's so many times when you feel overwhelmed and sometimes you're even scared to admit it because you don't want to come off as weak or seeming like you can't do something, but we're all human. There have been so many times when Halle and I feel overwhelmed, and I'll play this song and feel so much better. It's okay to just lay in that and not feel pressured to know what's next and just kind of accept, and once you accept it, then you could start moving forward and planning ahead. But we all have those moments where we kind of just need to admit it and just live in it.”
\nLonely\nHalle: “This song is so very important to us. We did this with Scott Storch, and it ended up just kind of writing itself. I think one friend that we had in particular was kind of going through something in their life, and sometimes, a lot of the situations that we're around we take inspiration from to write about. We were also feeling just stuck in a way, and we wanted to write something that would uplift whoever it was out there who felt the same way we did, whether it was just being lonely and knowing that it's okay to be alone. And when you are alone, owning how beautiful you are and knowing that it's okay to be by yourself. We kind of just wrote the story that way, thinking about us alone in our apartment and what we do, what we think when we're in our room, and what they think when they go home. I mean, what is everybody thinking about in all of this? When people are waiting by the phone, waiting for somebody to call them, and the call never comes—you don't have to let that discourage you. At the end of the day, you are a beautiful soul inside and out, and as long as you're okay with loving yourself wholeheartedly, then you can be whoever you want to be, and you can thrive.”
\nDon't Make It Harder on Me\nChloe: “We wrote this with our good friend Nasri and this amazing producer Gitty, and we were all in the studio, and I believe Halle really inspired this song. She was going through a situation where she was involved with someone, and there was also someone else trying to get her attention, and we kind of just painted that story through the lyrics: You're in this wonderful relationship, but there's this guy who just keeps getting your attention, and you don't want to be tempted, you want to be faithful. And it's like, 'Look, you had your chance with me. Don't come around now that I'm taken. Don't make it harder on me.' I love it because it feels so old-school. We wanted the background to feel so nostalgic. Afterwards, we added actual strings on the record. It just feels so good—every time I listen to it, I just feel really light and free and happy.”
\nWonder What She Thinks of Me\nHalle: “I was really inspired for this song because of a story that was kind of happening in my life. I mean, the themes of 'Don't Make It Harder on Me' and this song as well are kind of hand in hand. There was this amazing guy who's so sweet, and it just talks about this bond that you have with somebody and how this person came out of nowhere. And then all of a sudden, you kind of find yourself wanting that person, but they're in a situation and you're in a situation, and you don't want to seem like you're trying to take this girl's man. We spun it into this story of being the other woman—even though, just so you know, Chloe and I were never that. So we pushed that story so far, and it was really fun and exciting to talk about, because I don't think we had ever experienced or heard another song that was talking about the perspective of the other woman—the woman who is on the side or the girl who wishes so badly that she could be with him and is always there for him. So we flipped it into this drama-filled song, which we really feel like it's so exciting and so adventurous. The melodies and the lyrics and the beautiful production my sister did, it just really turned out amazing.”
\nROYL\nChloe: “I love 'Rest of Your Life' because it kind of feels like an ode to our debut album, The Kids Are Alright, with the anthemic backgrounds and feeling so youthful and grungy. With this song, we just wanted to wrap this album up by saying, 'It doesn't matter what mistakes you make, just live your life, go for it, have fun. You don't know when your time to leave this earth is, so just live out for the rest of your life.' And even though we are in the ungodly hour right now, and we're learning ourselves through our mistakes and our imperfections, so what? That's what makes us who we are. Live it out.”","short":"“I feel like we were more sure of ourselves.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1511122250","type":"albums","href":"/v1/catalog/us/albums/1511122250?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music113/v4/55/3d/7e/553d7ee1-7de9-f998-20f4-960e1ed311f6/cover.jpg/{w}x{h}bb.jpeg","bgColor":"acb2b2","textColor1":"0d0f0d","textColor2":"141111","textColor3":"2c2f2e","textColor4":"323131"},"artistName":"Arca","isSingle":false,"url":"https://music.apple.com/us/album/kick-i/1511122250","isComplete":true,"genreNames":["Electronic","Music"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2020-06-26","name":"KiCk i","recordLabel":"XL Recordings","copyright":"℗ 2020 XL Recordings Ltd.","playParams":{"id":"1511122250","kind":"album"},"editorialNotes":{"standard":"Released in 2017 and partly informed by walks in East London’s Abney Park Cemetery, Arca’s self-titled third album was laced with sorrow. “And shame,” she tells Apple Music. “The album opens with a lyric that I only now understand about wanting to shed a skin, and it’s not been lost on me that The Skin I Live In is one of my favorite Almodóvar movies. It was almost like my music was guiding me with direction before I knew I was ready, basically. That's the miracle of art, right? You don't even know why you find certain directors or movies compelling, even if they’re problematic or full of static. That’s the mirror that can get you closer, deeper to your own self over time.” In the years since releasing that album, Alejandra Ghersi has moved to Barcelona, where she began transitioning, and fallen in love. “I‘ve had a lot of time to have lived experiences that I never had,” she says. Accordingly, KiCk i, the first in a planned series of albums, is full of life, crackling with mischief, defiance, joy, and vulnerability. Reflections on self, language, and love are rendered in daring syntheses of electronic, reggaetón, pop, and balladry. Calm rises from friction, swagger dovetails with tenderness, and the songs strike a captivating balance between invention and accessibility. “I try to find a place of tension that generates heat, rather than confuses,” Ghersi says. “I really do want to entertain people. There’s a showgirl in me that wants to compel and render a service, but at the same time, a part of me wants to defy and transgress and question.” Here, she talks us through the record track by track.
\nNonbinary\n“I wanted to introduce the concept of self-states. When I talk about a self-state as a system of personalities that each of us can have, that’s a very loaded term. It's an idea of integration and inclusion; it’s not supposed to be scary. You could just say ‘mood’—it’s a spectrum of moods we have. The mood I was in when I made this song is baffling to me, that part of me that has that much confidence. It’s a certainty I have access to in certain self-states. But in other self-states it’s like, ‘Well, sheesh, I can't believe I'm going there.’ It’s just a personal journey, years of analysis: I worked with someone to try and make sense of everything. It really is a developing field, identity philosophy. The word ‘nonbinary’ is a very recent word. Whenever I typed it into autocorrect, it would get hyphenated. And so the part of me that enjoys linguistics and playfully questions, says, ‘Oh, so this word means something different to you and I; perhaps we’re not arguing about who’s right, we just see the word differently.’ [It’s the] idea of taking the pressure off having to agree and opening up the idea of agreeing to disagree. All I’m suggesting, in a weird way, is not that everyone has to think like I do, but the opposite.”
\nTime\n“[A song about] seizing the day and a love story as well. I wanted to make a song that felt like you had a breeze under your face. I wanted to soar. After ‘Nonbinary’ being so confrontational and tense, I was like, ‘OK, you made it past the gate, now you get to have some sugar as a dessert.’ I also think it's about self-care, running that bubble bath as long as you want to. You've got to put productivity to one side and really stretch and indulge, because that’s weirdly part of the homeostasis of being able to be productive and fertile. [Musically,] I literally was channeling the gayest part of me, which I know sounds like something confusing to hear a trans woman say, but it shouldn't be. I was thinking Kylie, I was thinking Madonna—that synth just sounds gay to me in a beautiful way. It's bubbly.”
\nMequetrefe\n“I wanted to find an uncanny valley between a joyous celebration and a defiant transgression. It’s the song that I put on when I have to rile myself up to face the world, to just present as I am. There’s a tenderness and a very sweet chord progression in the song that’s a reminder that it’s born from love, that labor of expressing oneself. But at the same time, it’s not lost on me that it's going to cause some static around me. I moved to Barcelona deliberately. It was a part of me that was reluctant to begin my transition in New York or London—I didn't want to be in a safe space, because I had a lot of doubt. I felt like I needed to go into a place that was more traditional in order to let that bloom within me. I didn't want to feel like I was being encouraged into it. I really needed to know on a spiritual level that it was something I wanted to do for myself. So the song is very much directly a response that I didn't want to have to be impenetrable and immune and to rise above people disagreeing with me visibly or vocally on the street in a city like Barcelona, which is very traditional. But somehow it felt like a return—it’s the first time I’ve lived in a Spanish-speaking country since I left Venezuela at 17. So there’s a poetic symbolism there.”
\nRiquiquí\n“I love this song to bits. Some of the lyrics, it's like I'm not even trying to make it universal. Like 'mango bajito': my dad would say that when we found a parking spot, 'Oooooh, mango bajito!' That's an expression in Venezuela, like, ‘There’s mango everywhere’—low-hanging fruit. It’s these very, very autochthonous expressions throughout the song. Just the track title: invoking your mouth, making that shape phonetically. It has a mischief, and a heat and a spark to it. I was like, ‘OK, let me do my lowest baritone, let me do my most hysterical,’ like you can see this character almost shape-shift and have very different expressions. But there was something of an essence that unified all of them, and it was just electric.”
\nCalor\n“A consummate love song. Probably the happiest, most lyrical love song I've written under the name Arca. That’s really to my boyfriend Carlos. A lot of my life I was like, ‘When am I going to find someone who I could love and be myself with?’ I really didn't think I would fall in love when I did with Carlos. I wasn't looking for it, I was actually avoiding it. Anytime there was chemistry with anyone, I'd just disappear because I didn't know how to handle it. I was scared of love because of past experiences. The lyrics that came out of me were improvised; I just had one of those sessions where it was one take from start to finish. ‘Calor’ is very much a sigh of relief, saying, ‘OK, I’m doing this, it’s happening, I’m going to let it wash over me.’ When I listen to it, I’m like, ‘Wow, I can't believe I wrote that, it’s so vulnerable.’”
\nAfterwards (feat. Björk)\n“I cried when I heard the recording for the first time. When [Björk’s 1997 album] Homogenic came out, it changed the way I saw music and the way I saw music videos. That time was so important. When I hear ‘Afterwards,’ it reminds me of that era. The style of Björk singing that was just like ocean-wide. She’s so generous with air in her vocal tone. The fact that she wanted to sing in Spanish [Björk sings Antonio Machado’s poem ‘Anoche cuando dormía’]—I was gagging. And, full disclosure, I was trying to get ROSALÍA and Björk on the same track. It was just that scheduling was crazy, but we were on the email thread, and ROSALÍA [was] helping a little bit with pronunciations. A very sweet email thread, very beautiful, and everyone was encouraging each other. The poem itself, it’s very tender. I also sense there's a humility, there’s a sense of wonder, of interconnectedness, of longing. It’s a song that reminds me of twilight or dusk, it has this kind of glow, and the lyrics really added a sense of dreaminess.”
\nWatch (feat. Shygirl)\n“Oh gosh, let's talk about Shygirl. She is the bomb. I think she’s so, so amazing. Her energy is so refreshing and she’s just cool. I love her delivery, her style; she’s fierce. We bond a lot about performativity, about fearlessness, about feminine destruction, about power, about dominance and submission, and not putting oneself into a box. This idea of playing with a sensuality and a sexuality in a way that's not ashamed—I find that very, very refreshing about her.”
\nKLK (feat. ROSALÍA)\n“I love ROSALÍA. We met at a house party here in Barcelona, and we never really stopped being in touch. We talk about the courage that it takes to be a showgirl, and how it’s hard work. We encourage each other, like mutual cheerleading, mutual nurturing. When I open a thread with a collaborator, it’s someone who I want to be talking to and working with for years. For me and ROSALÍA, there’s so much in common. This not wanting to be put into a box. Not wanting to be seen as just tradition and not wanting to be seen as just a disavowal of tradition, but actually that we each love traditional music and folklore so much that we want to keep it alive and breathe new life into it, keep it a part of the conversation. It's much easier to stay within the bounds of what someone might expect from you based on who they think you are, how you look. It takes bravery to say, ‘I love music. I'm going to do this thing that I know musicians can do, which is synthesize influences before it happens in film, before it happens in fashion.’ Part of what makes music so magical for me is it allows for the blending and synthesizing of seemingly disparate or incompatible forms in a very magical way.”
\nRip the Slit\n“‘Rip the Slit’ is a curveball. It's probably the one that leads the most organically to what I envision KiCk ii being, which is more mischievous. It's a kinky song. It's also the most repetitive, I think. It reminds me of trance-like states. When you say something so many times, it starts meaning different things—just playing with that. Like a gleeful perversion of some sort. It reminds me of the self-state that I was in when I made some earlier works, Stretch 1 and 2. So it’s heavier on the backbeat. I'm sparing with my snares, and this song’s snare-heavy. It's like a love of snare fills and stuff like that. Nimbleness, that kind of thing, production-wise.”
\nLa Chíqui (feat. SOPHIE)\n“This track to me is bananas. I love SOPHIE and I was like, ‘If we do a track together, it has to be crazy.’ And I think it beyond lives up to what I imagined or hoped it would feel like: a sense of chaos and very rhythmic. So much of SOPHIE is in that track—not just her vocals but also the sonics. It was very collaborative. And it was very beautiful to be working with another trans woman and just having us being each of us, so self-contained and bridging and finding mutual points of collaborating. And so when I think of this track, it gives me a lot of enthusiasm and energy.”
\nMachote\n“‘Quiero una Chica’— which means ‘I Want a Girl’—by Latin Dreams was a song that just hit so hard in Caracas. It was released in 2003. I was born in ’89, you can do the math. That was my prepubescent-slash-pubescent upbringing in Venezuela. I could call ‘Machote’ a cover, I'm not shy about it. But I swapped all the pronouns and abridged certain things. You know when you love a song but it's singing to the gender that you might not be? It's like a simple inversion of it, a simple gender inversion. It meant reaching out to that teenage part of me and being like, ‘What you're feeling is not only valid, but you're going to be able to share that.’ Also, have you seen the album cover of the original? I was like, ‘Oh, so boys can look like that. You can be that androgynous, that feminine.’ I sample myself as well in it with a song called ‘Wound’ from [2014 album] Xen. There's this recurring string section that I invoke many times throughout my career. One of the most vanilla, pop, Hollywood chord progressions, but it just touches my heart. When I bring up that chord progression, it's because I'm tuning into something very candid.”
\nNo Queda Nada\n“This just makes me think of [the late Tejano star] Selena Quintanilla. You know the movie [Selena]? J. Lo plays Selena and there's the stadium scene? That really impacted me. What did it look like for an artist that was a crossover artist, who couldn't be put into a box? Because I moved back and forth between the States, watching her story and knowing that she wasn't particularly fluent in English, she wasn't particularly fluent in Spanish, she had her own language, a Spanglish, that just called out to me. I grew up listening to Aaliyah, but I didn't share Aaliyah's background. I grew up listening to Madonna, but I didn't share Madonna's background. But Selena was someone who was that much closer. ‘No Queda Nada’ is, in my mind's eye, like a stadium ballad. It has this slow-motion regalness. And there's more fullness and a soulfulness. And then it really soars at this end. It's the second song that I say [Carlos’] name on. [It’s] a love song to all the love that was being born from me and continues to spring forth from me. And to just not be afraid to go the full way, and have the full ballad, not edit it down into a radio-friendly version—have it be this very touching thing that had scale to it, that could be that personal and that tender and have my voice crack.”","short":"\"A showgirl in me wants to compel, part of me wants to defy and transgress.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1508349109","type":"albums","href":"/v1/catalog/us/albums/1508349109?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/0a/b3/9e/0ab39ed0-a254-cd30-d5d6-103f34b26d50/634457020481.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"f5f4f2","textColor2":"dcd7d6","textColor3":"c4c3c1","textColor4":"b0acab"},"artistName":"Jehnny Beth","isSingle":false,"url":"https://music.apple.com/us/album/to-love-is-to-live/1508349109","isComplete":true,"genreNames":["Alternative","Music","Rock"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2020-06-12","name":"TO LOVE IS TO LIVE","recordLabel":"20L07 Music","copyright":"℗ 2020 20L07 Music","playParams":{"id":"1508349109","kind":"album"},"editorialNotes":{"standard":"“I needed to change things in my personal life, but also in the way that I was working,” Jehnny Beth tells Apple Music of her debut solo LP. “It was exhilarating for me to begin from a clean slate, starting something new and feeling that fear of the unknown again.” Best known as the lead singer and co-writer for UK post-punk band Savages, Beth was repeatedly told that it was too much of a risk to branch out on her own and that she should build on what she had done before. She followed her instinct instead, relying on her own resources and several collaborators to bring her project to life, including British producers/audio engineers Flood and Atticus Ross and longtime creative partner Johnny Hostile. TO LOVE IS TO LIVE is a natural display of Beth’s experimental curiosity—unleashing unsettling synths and industrial percussive elements as she gets in touch with feelings of self-doubt and her sexuality. “It was an inner voice, something that was calling me to do this—otherwise, there’s the danger of losing myself completely,” Beth says. “I didn't want to be enslaved to one genre of music, and I didn't want to be one of those singers who are slaves to their dance.” Here, Beth walks us through the album, one song at a time.
\nI Am\n“When I heard Atticus Ross’ production, I knew it was going to be the opener. With Savages, my voice was connected to the intensity of the guitars and the drums with that classic punk-rock band scenario. And he was creating the same intensity but with strings, and instruments that were different. I love that it creates a sense of suspense and wonder. When you finish the track, you're left with questions like 'What is coming next?' The song was written by me and Johnny Hostile, and it was during the very early stages of exploration. During one of our lab experiments, we tried to pitch my voice in different styles and tonologies, and we found one that was really pitched down. There's a multiplicity of voices on the record. And I think the purpose is to unlock the forbidden thoughts and intimate thoughts that we believe are shameful. I think that we push them down. But as humans, we have contradictory thoughts—and we battle with the idea of identity and the idea of good and bad all the time. There is danger in trying to repress those hidden voices and not giving the space for them. So that's why it was important to open with that voice and not my voice.”
\nInnocence\n“It was produced by Flood in his studio in London. He has this capacity of getting obsessed with details and muting all the important parts. You don't understand what he's listening to or why he's even listening to that. So I got frustrated, and he kicked me out of the studio and asked me to come back an hour later. And then I was very frustrated and angry. I came back and heard the mix, and then came this moment where I was hearing myself in a way that I had never heard myself before. It brought me to tears. I wrote the lyrics early on in the process of making the record; I placed it as the starting point of the journey—the same way a novelist would start with the shameful thoughts for his novel, and start from there to grow. Not trying to avoid it, but put it at the center—and I asked myself what is the thought that keeps you up at night that you never reveal to anyone. And it was the idea of lost innocence, in the sense of feeling isolated and not being able to connect with the rest of humanity. It's about the reality of living in busy cities as well. The more you close your eyes to people, the more walled up you become. You see the reality of a city which doesn't treat everybody equally or the same way, and the anger that it creates.”
\nFlower\n“It's a classic scenario of distance being sexier than the touch, and celebrating female nudity in a hypnotic way. I was inspired by all the girls in Jumbo's, which is an LA pole-dancing club I go to when I'm in LA. I really love the atmosphere of the club and how freeing it is, and how exciting and frightening it is at the same time. I love that tension. Hostile composed it for me, and when it was finished, I felt it wasn't for me. I wasn't sure, so I sent it to my friend Romy Madley Croft [The xx vocalist/guitarist], and she replied in capital letters that I have to have this song on the record and that it was great to hear me in a different context. I decided that I was going to check with myself if I was feeling uncomfortable. And if I was feeling uncomfortable, it was a good sign that I was going in the right direction.”
\nWe Will Sin Together\n “It’s an invitation to do bad things together and the realization that love is part of that. That there's no right or wrong; there's only in and out. If you decide to break a sweat and participate in life, you are going to make mistakes. So for me, it's what I call a post-romantic love song. It tries to reach beyond the ancestral codes of romanticism, because they too often generate frustration. Romy sang backing vocals on it. We were working on the song in LA and I asked her to sit behind the mic. I love her voice. I think it naturally carries a lot of emotion and never sounds fabricated, and it also suits the song perfectly. It's one of my favorite tracks of the record.”
\nA Place Above (feat. Cillian Murphy)\n“I had written the texts and I wondered if [Irish actor] Cillian could read it. Because, again, I wanted this multiplicity of voices on the record. I knew he was a fan of Savages, and I was a fan of his; I think he has one of the best voices in modern cinema. He did it without hearing any music, which I think was great and perfect. I remember what Cillian wrote to me when he wrote the text. He said, ‘It's big stuff.’ And then he said, 'It should be done in a slow way, a quiet way.' He made it personal, as if you were hearing someone's personal thoughts that you suddenly had access to. It’s a little bit like in Wings of Desire [German film director Wim Wenders’ 1987 film]. The angels have access to people's thoughts and minds, and they can hear their secret thoughts.”
\nI’m the Man\n“What I wanted to say with this song is that the root of evil isn't just on the other side—it lives inside of each of us. It's implanted in our core by generations of parents or grandparents in society, and we must stay strong and aware to overcome the aggressive power to control us. It's about facing my own responsibility for the evil of this world. It's important for arts, in general, to show our own complexities to our faces. I wanted to portray the evil of this world and put it on me, wear the mask of people. Because it's impossible for me, as an artist, to draw a line between good and bad and just pretend that I'm always standing on the right side of the fence. Sometimes it's about looking on the other side, trying to understand your own thoughts and your own darkness and your own violence.”
\nThe Rooms\n“It’s a resolution moment, kind of a resting in contrast to ‘I’m the Man.’ I wrote and recorded hours of piano and vocals on my own in the studio. It's a calm description of an orgy where women have all the power. It comes from a line by Francis Bacon, who said something like, ‘When I went into the rooms of pleasure, I didn't stay in the rooms where they celebrate acceptable modes of loving, I went into the rooms which are kept secret.’ It's a beautiful way to describe desire and exploration.”
\nHeroine\n“I think ‘Heroine’ is a cry to be free. I have had quite a journey with this song, because it was originally called ‘Heroism.’ Because I wanted to talk about the idea of freedom and role models and the fact that freedom is, in fact, frightening. I was told I should play the heroine in ‘Heroine.’ I couldn't really step into the shoes of that big character that way, that was positive in a way. You need to be able to embody positive characters as much as you embody frightening and contradictory characters. So that was the realization for me. Sometimes you look for role models around, but you have to also be able to see what's within you. And for me to hold the people around me to get there, to take me there.”
\nHow Could You (feat. Joe Talbot)\n“One of my favorite songs about jealousy is ‘Why’d Ya Do It?’ by Marianne Faithfull from Broken English, and I always wanted to write something about jealousy. I've had to work very hard to conquer jealousy in order to live, and it wasn't easy. I had to fight against all my conditioning and invent new rules for myself. I've learned so much from the process, but it's something you constantly need to check yourself with. Because jealous people always think they're right. Which I think is my main problem with it; when I was jealous, I was tempted to think I was right, because jealousy makes you think that there isn't a greater pain than yours. I couldn't imagine a better person as Joe [Talbot, IDLES vocalist] to be a jealous man on this song. Because he knows, and he understands, what it means to take control of this human instinct. And he's been jealous. He's been a bad guy; he knows what it's like. When I discovered IDLES, I thought they were shining a light into what it means to be a man in a band. I knew Joe was going to write something brilliant about anger and jealousy, and he did.”
\nFrench Countryside\n“I wrote it as if I was writing a soundtrack for Call Me by Your Name. That's what I had in mind: the summer, the countryside, and the promise of love. I wrote the lyrics much before that. I wrote them in a plane when I thought we were going to crash, and I was making a list of promises of what I would do better if I survived. And obviously when the plane landed safely, I forgot about my list of promises. When I revisited the idea I realized, oh god, we forget about the urgency of life. I was suddenly facing those ideas again, and I really wanted to make something before I go too. It contrasts so much with the rest of the record, but that's really on purpose.”
\nHuman\n“I knew I wanted to make a record that would give a sense of the journey, holding a narrative from start to finish. It was part of my early discussions with Atticus. I didn't want to make a collection of songs. I wanted the record to be a world you can live in. He had this idea of reintroducing the dark voice at that point with the same lyrics. And again, bringing in those orchestral strings, and that sort of drama and intensity and suspense. So we're going back to the beginning, but we've evolved. The idea of the lyrics came to me when I was reading about people who go to digital rehab, because they've lost the sense of self and connection to their life. It felt that it was interesting to finish the album by saying I used to be a human being and now I live in the web. Because I think we can relate to that more and more.”","short":"“It was an inner voice, something that was calling me to do this.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1515738865","type":"albums","href":"/v1/catalog/us/albums/1515738865?l=en-US","attributes":{"artwork":{"width":4388,"height":4388,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/8c/25/22/8c252264-06bb-2c56-09eb-949ac1c68197/195081694399.jpg/{w}x{h}bb.jpeg","bgColor":"c9c8c6","textColor1":"140a07","textColor2":"332e2a","textColor3":"38302d","textColor4":"514d49"},"artistName":"Anuel AA","isSingle":false,"url":"https://music.apple.com/us/album/emmanuel/1515738865","isComplete":false,"genreNames":["Urbano latino","Music","Latino"],"trackCount":23,"isMasteredForItunes":false,"releaseDate":"2020-05-29","name":"Emmanuel","recordLabel":"2020 Real Hasta La Muerte, LLC","copyright":"℗ 2020 Real Hasta La Muerte, LLC, Dist. by Sony Music Entertainment US Latin LLC","playParams":{"id":"1515738865","kind":"album"},"editorialNotes":{"standard":"Following 2018’s post-incarceration project Real Hasta la Muerte and a string of huge new hits over the subsequent two years, there were high expectations for Anuel AA’s second album. Still, nobody could have expected that the familiar sounds of Bob Marley’s “No Woman, No Cry”—transmuted into the Spanish-language rock ballad “No Llores Mujer” with blink-182’s Travis Barker on the drums—would lead off the long-awaited Emmanuel. Nonetheless, fans surely knew that the Latin trap superstar had the pop chops to pull off such a bold move towards the mainstream, especially after all but reinventing himself with the smash Shaggy interpolation “China.”
\nFittingly, those two songs bookend his sophomore set, a double album that announces Anuel as more than just an urbano maestro. Willfully broadening his sonic range, he sounds downright exuberant over the uptempo tropical dance groove of “El Manual” and amid the thumping island vibes of “Que Se Joda” with Farruko and Zion. He reaches across generations of Latin music on the hopeful “Fútbol y Rumba” with the legendary Enrique Iglesias and on the J Balvin-referencing “Bandido” with Miami-bred up-and-comer Mariah.
\nThose who come to Emmanuel seeking something more in the trap vein will find plenty to appreciate in cuts like “Narcos” and “Somos o No Somos.” Anuel secures no less than Lil Wayne himself for the bilingual team-up “Ferrari,” a braggadocious track that recalls his previous single “YES” with Fat Joe and Cardi B. Yet it’s the chilling “Rifles Rusos” with pioneer Tego Calderón that most recalls the grimness of Anuel’s well-respected early material. Calderón also appears on the throbbing reggaetón jam “Jangueo,” and the embrace of that vital genre’s past and present is where the album truly draws its power. Both of the Bad Bunny collaborations here tap into that rejuvenated spirit, with “Así Soy Yo” giving off that throwback perreo sound and the shinier duet “Hasta Que Dios Diga” showcasing their contemporary star power.","short":"The Latin trap maestro reveals his inner pop star."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1511074909","type":"albums","href":"/v1/catalog/us/albums/1511074909?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/46/77/a4/4677a451-27ab-a78a-cdee-f99e76990915/886447223307.jpg/{w}x{h}bb.jpeg","bgColor":"dfb891","textColor1":"14051b","textColor2":"351624","textColor3":"3c2932","textColor4":"57363a"},"artistName":"Tenille Townes","isSingle":false,"url":"https://music.apple.com/us/album/the-lemonade-stand/1511074909","isComplete":true,"genreNames":["Country","Music"],"trackCount":12,"isMasteredForItunes":true,"releaseDate":"2020-06-26","name":"The Lemonade Stand","recordLabel":"Columbia Nashville","copyright":"℗ 2020 Sony Music Entertainment. All rights reserved.","playParams":{"id":"1511074909","kind":"album"},"editorialNotes":{"standard":"“It kind of comes from putting things in my pocket since being a kid, and growing up in a community that really looks out for people and envisioning this crazy dream actually becoming something possible,” Tenille Townes tells Apple Music of how her hometown Grande Prairie, Alberta, inspired her major-label debut album, The Lemonade Stand. “Then moving to Nashville for the first time outside of my comfort zone and writing songs and feeling so hungry and inspired by the creativity in this community has pushed me to want to really dig in and find what I had to say.” Both the observational optimism of her writing and the warbling intimacy of her delivery are helping to return elements of singer-songwriter folk, pop, and rock to the Nashville mainstream. Producer Jay Joyce listened to the impassioned way that Townes strummed her songs on acoustic guitar, and added a kinetic sense of rhythm. “It was completely an exploratory process of Jay running around from creating this loop to play with, and then all of a sudden he's jumping over to a synth pad, and then he's running over to the drums,” she says. “It was very cool to witness the way Jay really trusts these songs to speak up and become what they're supposed to be, and he's just not afraid to try anything and everything.” Read the stories behind each of those experiments below.
\nHolding Out for the One\n“It’s the message of being able to be proud of what you stand for and what you believe in around the idea of love, and what you're looking for, even if it's not the most cool or popular way to think about something. I love the way the music makes me feel around that message. It's this sort of confident anthem that's like, ‘Here I am, and this is what I believe,’ and it's been really fun getting to play that song with my band.”
\nWhere You Are\n“One of the most special moments to me was the way that the song escapes time in the third verse. It's like we were trailing along the journey of the song and then Jay's like, ‘What if we just jump off the track for a second and just float in the air around the piano?’ We just were trying it, messing around with him sitting on the piano, and I was holding this handheld mic sitting beside him, and we ended up using that.”
\nJersey on the Wall (I’m Just Asking)\n“I have questions for God. Being able to ask those questions and have that conversation and sit in that place of wrestling, to me, is what allows me to believe. That's so foundational. It's just the comfort that you're just not alone in that. This song, in the studio, it took a lot of pacing and really working out the rhythm. It's like somebody pacing back and forth as they're in that really hard place. It's a painful sort of honesty. This song is anchored from true stories of people that have been through really hard things that I had the honor of getting to know, and being able to write about that story just meant so much to me.”
\nLighthouse \n“I love the concept of lights. I love the way that the darkness just cannot possibly stand a chance from the smallest beam of it. It just has no choice but to shrink. I love talking about light and thinking about light as a theme in writing in general. It was cool to be able to dive into that for this song, and also honoring the people who cheer us on and who are the encouragers along our path, and the way that we get be that for people too.”
\nWhite Horse\n“I wrote this with Jeremy Spillman and Daniel Tashian, and we were thinking about Daniel's little girls and the fairy tales that we read as kids and this idea of true love that we paint in our mind. I just think it's so important to challenge that in real life. Love is just so much bigger than what society paints it to be. Trying to keep an open heart towards all of that is important. Walking into the studio with the song, I really felt like Jay put like a leather jacket on it, metaphorically speaking. It's got this edge to it. I love the snare drum and the attitude that it just kind of brings forward.”
\nI Kept the Roses\n“I love the old soul kind of melody of this chorus and the three-part harmony and the way that it just feels a little back in time. And I love the message of just holding on to the good things and the hard and not-so-fun, painful things we go through, and being able to keep the parts that shape us. Vocally, it’s really fun to be able to sing this style.”
\nWhen I Meet My Maker\n“I wrote this in the early days of living in Nashville by myself. I was sitting in this little apartment I was renting and just really missing my great-grandmother and my family, and just thinking about the glue that she is and how thankful I am to have lived 20 years of my life with my great-grandmother very closely. She was just an incredible woman. She'd come out to all these different fairs or festivals I'd played in Canada and sit in the front row in her lawn chair and sing along. She partied with the best of them up to, like, 80-some years old, and would be the first one waking up in the morning, cooking everybody breakfast. It maybe took me 20 minutes to write this song, and I just felt like I was getting out of the way and surrendering to that moment and letting it take over. It was very much a spiritual process. The day that we recorded this song, Jay played it with me and I sat and played my acoustic and sang into the mic at the same time, and there was a third acoustic guitar. It was just the three of us sitting in a semicircle. I took a deep breath and said a little prayer and sang the song.”
\nCome as You Are\n“To me, that's such a big theme of this project—the invitation for people to just show up and be who they are. I've always loved that phrase. It was really fun to dance around Daniel's studio the day that we wrote it, just imagining people of every kind, just showing up and coming together.”
\nThe Way You Look Tonight (feat. Keelan Donovan)\n“I originally wrote this with Daniel Tashian and Keelan Donovan, and we were sitting around talking about how the music of that sort of Frank Sinatra era is just like a time machine. It's like you listen and even having not lived in that era, you feel like you're just walking down the spiral staircase into this mysterious and magical romantic time. We wanted to capture that feeling in a song, and we wrote it to be this duet, and it was really cool to have Keelan be able to come in and sing.”
\nFind You\n“I think to be human is to be searching and to be making sure your heart and your eyes are always open. That's the anchor of where the thread that goes through a lot of those songs kind of comes from, from that belief, and this one included.”
\nSomebody’s Daughter\n“That was the sort of dream opening message [major-label debut single] that I could have imagined. That story and starting from that place really, really meant so much to me, the desire to really be looking out for one another and things that we're going through. It's very much sort of anchored in this way of just being an observer and noticing really hard things. Being able to musically pair that with the anthemic production just made me so excited.”
\nThe Most Beautiful Things\n“I had envisioned this song as the closing song to this thematic season of my life. I feel like that wonder and innocence is something to learn so much from. Jay had this idea to bring in this little girl to sing at the end of the record. She was Jason Hall, the engineer's, daughter and her name is Amelia. She's seven years old, and she just came and sang her heart out. I watched her stand in the vocal booth and she's all nervous, and then she just closes her eyes and sings. And it's like, ‘Oh my gosh, I remember being her age and just singing along to my favorite records and dreaming about getting to wake up and do music and put out a record like this.’ This music very much is that dream.”","short":"The pride of Grande Prairie, Alberta, details each song on her debut LP."},"isCompilation":false}},{"id":"1511050526","type":"albums","href":"/v1/catalog/us/albums/1511050526?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music123/v4/82/67/46/826746fa-e7a0-acbc-e981-a703400a5821/dj.zpsmuqed.png/{w}x{h}bb.jpeg","bgColor":"ccccd0","textColor1":"0b0b08","textColor2":"2d251b","textColor3":"323230","textColor4":"4d473f"},"artistName":"박혜진 Park Hye Jin","isSingle":false,"url":"https://music.apple.com/us/album/how-can-i-ep/1511050526","isComplete":true,"genreNames":["Electronic","Music"],"trackCount":6,"isMasteredForItunes":false,"releaseDate":"2020-06-26","name":"How Can I - EP","recordLabel":"Ninja Tune","copyright":"℗ 2020 Ninja Tune","playParams":{"id":"1511050526","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1452629309","type":"albums","href":"/v1/catalog/us/albums/1452629309?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music114/v4/4b/5e/a5/4b5ea5ca-5375-4b74-585e-3d36d2b5bed7/00028947969778.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"050708","textColor2":"241f1f","textColor3":"373839","textColor4":"504c4b"},"artistName":"Max Richter","isSingle":false,"url":"https://music.apple.com/us/album/sleep/1452629309","isComplete":false,"genreNames":["Classical","Music","Electronic","Contemporary Era"],"trackCount":204,"isMasteredForItunes":true,"releaseDate":"2015-09-04","name":"Sleep","recordLabel":"Deutsche Grammophon Classics","copyright":"℗ 2018 Deutsche Grammophon GmbH, Berlin","playParams":{"id":"1452629309","kind":"album"},"editorialNotes":{"standard":"When UK composer Max Richter premiered Sleep in London, in 2015, the concert lasted all night—hardly a customary occurrence in the contemporary classical world. Stranger still, the audience dozed on cots. That’s because Sleep is designed to induce just that. It’s not just that the eight-hour piece for piano and strings is soft, gentle, and reassuringly consonant, or that it lasts eight hours—long enough, in other words, to last ’til dawn. When writing, Richter consulted with sleep neuroscientist David Eagleman, folding cutting-edge research on slow-wave phases of sleep—states crucial to learning and memory—into the very shape of the piece. The slow tempo is intended to have a lulling effect, drawing listeners into drowsiness and holding them there. In the opening movements, the music’s repetitive nature and recurring themes are subtly hypnotic, assisting listeners in clearing weary minds; as the piece goes on, instrumental outlines are worn away, leading to a quasi-ambient fog. Richter, whose soundtrack credits include Ad Astra, Mary Queen of Scots, and television series like Black Mirror and The Leftovers, is known for his graceful, melancholy touch, and that’s certainly apparent here, particularly in passages like “Path 3,” featuring an almost liturgical melody from soprano Grace Davidson. Fortunately for listeners who don’t want to miss these moments of sublime beauty, a companion album, From Sleep, excerpts the most striking movements in a comparatively brief one-hour dosage—just the thing, perhaps, for a relaxing cup of tea in the morning.","short":"The UK composer’s opus is still the perfect sleep aid for uneasy times."},"isCompilation":false}},{"id":"1500951604","type":"albums","href":"/v1/catalog/us/albums/1500951604?l=en-US","attributes":{"artwork":{"width":3600,"height":3600,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music113/v4/fb/97/a0/fb97a00f-282c-5a31-eb62-80f3d69410b6/20UMGIM15390.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"151410","textColor1":"f098af","textColor2":"f16c8a","textColor3":"c47d8f","textColor4":"c55a72"},"artistName":"Lady Gaga","isSingle":false,"url":"https://music.apple.com/us/album/chromatica/1500951604","isComplete":true,"genreNames":["Pop","Music"],"trackCount":16,"isMasteredForItunes":true,"releaseDate":"2020-05-29","name":"Chromatica","recordLabel":"Interscope","copyright":"℗ 2020 Interscope Records","playParams":{"id":"1500951604","kind":"album"},"editorialNotes":{"standard":"“This music actually healed me.” That’s the hopeful message Lady Gaga brings with her as she emerges from something of a career detour—having mostly abandoned dance pop in favor of her 2016 album Joanne’s more stripped-back sound and the intimate singer-songwriter fare of 2018’s A Star Is Born. She returns with Chromatica, a concept album about an Oz-like virtual world of colors—produced by BloodPop®, who also worked on Joanne—and it’s a return to form for the disco diva. “I’m making a dance record again,” Gaga tells Apple Music, “and this dance floor, it’s mine, and I earned it.” As with many artists, music is a form of therapy for Gaga, helping her exorcise the demons of past family traumas. But it wasn’t until she could embrace her own struggles—with mental health, addiction and recovery, the trauma of sexual assault—that she felt free enough to start dancing again. “All that stuff that I went through, I don’t have to feel pain about it anymore. It can just be a part of me, and I can keep going.”
\nAnd that’s the freedom she wants her fans to experience—even if it will be a while before most of them can enjoy the new album in a club setting. “I can’t wait to dance with people to this music,” says Gaga. But until then, she hopes they’ll find a little therapy in the music, like she did. “It turns out if you believe in yourself, sometimes you’re good enough. I would love for people that listen to this record to feel and hear that.” Below, Lady Gaga walks us through some of the key tracks on Chromatica and explains the stories behind them.
\nChromatica I\n“The beginning of the album symbolizes for me the beginning of my journey to healing. It goes right into this grave string arrangement, where you feel this pending doom that is what happens if I face all the things that scare me. That string arrangement is setting the stage for a more cinematic experience with this world that is how I make sense of things.”
\nAlice\n“I had some dark conversations with BloodPop® about how I felt about life. ‘I’m in the hole, I’m falling down/So down, down/My name isn’t Alice, but I’ll keep looking for Wonderland.’ So it’s this weird experience where I’m going, ‘I’m not sure I’m going to make it, but I’m going to try.’ And that’s where the album really begins.”
\nStupid Love\n“In the ‘Stupid Love’ video, red and blue are fighting. It could decidedly be a political commentary. And it’s very divisive. The way that I see the world is that we are divided, and that it creates a tense environment that is very extremist. And it’s part of my vision of Chromatica, which is to say that this is not dystopian, and it’s not utopian. This is just how I make sense of things. And I wish that to be a message that I can translate to other people.”
\nRain on Me (With Ariana Grande)\n“When we were vocally producing her, I was sitting at the console and I said to her, ‘Everything that you care about while you sing, I want you to forget it and just sing. And by the way, while you’re doing that, I’m going to dance in front of you,’ because we had this huge, big window. And she was like, ‘Oh my god, I can’t. I don’t know.’ And then she started to do things with her voice that were different. And it was the joy of two artists going, ‘I see you.’ Humans do this. We all do things to make ourselves feel safe, and I always challenge artists when I work with them, I go, ‘Make it super fucking unsafe and then do it again.’”
\nFree Woman\n“I was sexually assaulted by a music producer. It’s compounded all of my feelings about life, feelings about the world, feelings about the industry, what I had to compromise and go through to get to where I am. And I had to put it there. And when I was able to finally celebrate it, I said, ‘You know what? I’m not nothing without a steady hand. I’m not nothing unless I know I can. I’m still something if I don’t got a man, I’m a free woman.’ It’s me going, ‘I no longer am going to define myself as a survivor, or a victim of sexual assault. I just am a person that is free, who went through some fucked-up shit.’”
\n911\n“It’s about an antipsychotic that I take. And it’s because I can’t always control things that my brain does. I know that. And I have to take medication to stop the process that occurs. ‘Keep my dolls inside diamond boxes/Save it till I know I’m going to drop this front I’ve built around me/Oasis, paradise is in my hands/Holding on so tight to this status/It’s not real, but I’ll try to grab it/Keep myself in beautiful places, paradise is in my hands.’”
\nSine From Above (With Elton John)\n“S-I-N-E, because it’s a sound wave. That sound, sine, from above is what healed me to be able to dance my way out of this album. ‘I heard one sine from above/I heard one sine from above/Then the signal split into the sound created stars like me and you/Before there was love, there was silence/I heard one sine and it healed my heart, heard a sine.’ That was later in the recording process that I actually was like, ‘And now let me pay tribute to the very thing that has revived me, and that is music.’”","short":"“I can’t wait to dance with people to this music.”"},"isCompilation":false}},{"id":"1518301128","type":"albums","href":"/v1/catalog/us/albums/1518301128?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/48/44/e0/4844e006-fcc2-7c5a-b399-1cbdb91e7920/20UMGIM48703.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"040404","textColor2":"1c1716","textColor3":"363636","textColor4":"4a4645"},"artistName":"Teyana Taylor","isSingle":false,"url":"https://music.apple.com/us/album/the-album/1518301128","isComplete":true,"genreNames":["R&B/Soul","Music"],"trackCount":23,"isMasteredForItunes":true,"releaseDate":"2020-06-19","name":"The Album","recordLabel":"Getting Out Our Dreams, Inc./Def Jam Recordings","copyright":"℗ 2020 Getting Out Our Dreams, Inc./Def Jam Recordings, a division of UMG Recordings, Inc.","playParams":{"id":"1518301128","kind":"album"},"editorialNotes":{"standard":"Coming off the eight-song appetizer that was 2018’s K.T.S.E., Teyana Taylor offers up a buffet of options fit for every mood and palate. The Album explores the multifaceted experiences with romance and motherhood that play such a major role in the singer-songwriter and dancer’s life. “When I first started on this album, I wasn't pregnant, but I knew that I was in a way different space than what I was with [2014's] VII and all the other music that I had put out—just being a mother, being a wife, and being a public figure,” she tells Apple Music. “I knew I definitely wanted to have a lot more fun, and I didn't want people to put me in that category where it's like, ‘Ah, she's married and happy, so that means we're about to get all I'm-in-love-type music,' you know?” Instead, she splits up the project into “studios,” with each one matched to a particular emotional profile. Studio A is love songs; Studio L displays her sexuality; Studio B is about exercising self-worth; Studio U is all vulnerability; Studio M finds triumph. “Depending on our emotion, we'll choose certain songs to kind of create a playlist,” she says. “What I wanted to do was pre-do that on the album where everything is broken up into sections, so the album kind of already comes playlisted.” The arrangement allows for deeper excavations into the nuances that define our experiences within relationships and the feelings those raise within ourselves; the broadness is a chance to tap into the universal. “Like how they say there's someone for everybody, there's some type of record for each and every person you can possibly think of on this album somewhere,” she says. “It's family, love, sex, heartbreak, dance. You can literally laugh, cry, scream out loud with this record.” Here's the backstory on some of her favorite tracks from The Album.
\nCome Back to Me\n“It's crazy how God worked, because I actually recorded 'Come Back to Me' back when I was working on the VII album. This song is extremely old. So the fact that I've never really gotten the chance to use it, and then I have [daughter] Junie—we happened to have her on the bathroom floor, so now we have a real 911 call. Everything just worked, and then that's one of Junie's favorite songs. So to actually be able to have the intro be the 911 call, and then it goes into 'Come Back to Me' featuring [Rick] Ross and Junie, it was like God's timing is always the best timing. I never understood why it never fit on certain projects. It's almost like this song was literally made to open up this album. I'm really happy that it's found a home.”
\nLowkey\n“I'm still gagging. That was one of them records that the moment I heard the beat, I already knew exactly what I was doing. I have such a good ear for stuff like that. I was like, 'Yo, this sounds like “Next Lifetime.”' I immediately started singing and I was like, 'How do I make it my own? How do I make it new? How do I make it relatable for girls in 2019, of my generation?' I literally wrote that song in 30 minutes, because 'Next Lifetime' by Erykah Badu was always one of my favorite songs anyways, and my mom's favorite song as well. It took me about three months to ask Erykah if she could get on the song because I was so nervous, because, one, Erykah don't give anybody features. She actually tweeted about my album K.T.S.E. a while back, and I was like, 'Okay, yeah, this is dope,' you know, just being hype. But then when she commented on one of my pictures of me, Iman, and Junie, I was like, 'Oh yeah, I'm in there.' I remember I just took the chance. And I almost didn't, because whether you follow me or not, this is still Erykah Badu. I reached out, and I was so nervous, and she told me to send her the record. I sent it to her, and she called back and she was genuinely in amazement, because she was just like, 'Wow, the way you really turned it into your own.' Because there's a lot of artists that will send you a record that they did and it's exactly what you did, word for word. She was like, 'I would be honored to be a part of it.' And when she sent me the verse—you know, when you get features and stuff from people like that, legends, you almost don't expect a lot. So for her to send back and really go in on her verse and really—she really bodied that shit. I listen to it and I get chills every single time her verse comes in. So yeah, that's a moment.”
\nMorning\n“‘Morning’ is a great song, especially live. As you can see, with the album version, even the intro is different—the way you hear it now is exactly how I perform it live. I wanted the album to feel like you could almost see me in concert. When it's time to go back on tour, if I wanted to perform this album in order, I could do that. And I think that's another thing that helped me come up with the idea of playlisting it and putting it in different categories and sections, because that's how I do it in concert, and that's the way people like to hear it because then they know what's coming next.”
\nBoomin\n“Missy and Timbaland on the same track, that's another rare thing. Missy and Timbo on a track together with a splash of Future I think was super dope. You know when Missy's on a song, she gives you a little intro. That's the moment I was waiting for. She's also on the bridge, but that talking part—'This is a Teyana Taylor exclusive, suckas'— I've always wanted that from Missy. And then to get the beatboxing from Timbo, you know, this is a big deal for me.”
\nBad\n“I think 'Bad' is a bold record and that is a good record that goes to unapologetically being a bad bitch no matter what anybody put you through, no matter what heartbreak you've ever been through. I think every girl goes through that stage where they're super innocent, they love someone, and the person kind of takes advantage, and it kind of puts you in a different bag for the better. I think it's important for girls because as women, in certain parts of life and in relationships and stuff, you can lose yourself sometimes. Sometimes you've got to find yourself, pick yourself up and remind yourself, 'Okay, this is what it is.'”
\nLose Each Other\n“It's one of my only ballads on the record. It's perfect because it's just like we don't have to completely throw away everything, you know? Even in the beginning-beginning—those puppy love stages with my husband, and we had our little breakups here and there. It was just like, I'm still checking on your mom, checking on your brothers—like when y'all not really broken up, but y'all fake broken up for like a week. Everybody has been through that phase before in life, and that's what it's about. And that's the way I look at things—everything don't have to always be so bitter. You get into one argument and it's just like, 'Well, F you forever.' It's just like everything don't have to be that. We don't have to end on negative terms, because it's still a person that you once loved. We can accept it for what it is, you know? I think it's a very important ballad, because when you usually hear ballads it's perfect—it's either super breakup or super make-up or super I'm-in-love. Gray areas are definitely great, because I want to show the black, the white, the in-between.”
\nConcrete\n“When I'm in that in-my-feelings type of mood, for me, it's 'Concrete.' You just feel it, like you ain't even gotta be going through nothing. You hear that song—you may not be going through it now, but you've been through it before. I think 'Concrete' is like that perfect song that's like, 'Yo, what's up? What we doing? Come on. I feel like I'm talking to concrete at this point.' It's like beating a dead horse.”
\nStill\n“I think for what's going on now with the world, one of my favorites for sure is 'Still'—it's not the typical 'I'm crying for love from a specific man.' It's about being Black in America and everything that we're going through. We're constantly crying for love, we're constantly crying for hope, we're constantly crying for peace. It just seems like nothing's wiping our tears. We're getting places, but it's not enough. We need more. And being a mom and being a pregnant woman during a time like this, of protests and riots and stuff, it's very emotional. I get emotional seeing my people go through what they're going through and waking up to my husband and my baby every morning and looking at my husband while he sleeps knowing that, above all, you're a Black man first. I take that risk with you walking out that door. I could have lost you yesterday, I could lose you today, I could lose you tomorrow. So 'Still' is, I think, a very powerful record for me right now personally with what I'm going through. But I feel like 'Still' is also—you can take that record any way you want to take it. If you feel like you're going through something with your companion and you're crying for love and you feel like he don't hear you, that can mean that too. That's what I love about it.”
\nEver Ever\n“That's actually one of the first songs that I recorded. I think I might have recorded 'Ever Ever' and 'Still' on the same day. It took me a while to get through those records, because that's another record kind of like 'Lose Each Other' where it's just like, you know, 'Do you think about me sometimes? N*gga, I know I'm in your brain somewhere in there—even when you acting like you fake moved on or you acting like you fake in love for a little five minutes, then I already know you coming back.' So even though the song sounds so serious, that's really all it's saying. Just the petty back-and-forth that guys and girls do, because we've all done it at some point in our lives, no matter where you are in life, no matter how famous, no matter how regular you are.”
\nMade It\n“I think wrapping it up with 'We Got Love' and 'Made It' was important because you done went through all the different emotions. And we got love at the end of it all. So we done been through this whole rollercoaster to wind up getting up where we really wanted to be and learning self-love and learning to love one another and embrace each other. I definitely wanted to end it on a more happy, upbeat note, because honestly, it goes to show that no matter what, you're going to have your bumpy rides and shit. This is what life is. Every single day is not the happiest day. Every single day is not the saddest day neither. I think with 'Made It' and 'We Got Love,' you take that deep breath and you realize you're still alive, and you're more grateful to still be able to live and have purpose.”
\nWe Got Love\n“[Lauryn Hill] specifically did this for me. I just wanted some inspirational words. I personally asked her for that, and she gave me words for 'We Got Love.' She sent me a dope voice note, and I used it for the album. That wasn't anything that I grabbed off the internet.”","short":"“It's family, love, sex, heartbreak, dance.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1510409258","type":"albums","href":"/v1/catalog/us/albums/1510409258?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/7b/e4/81/7be48121-7867-1212-f162-30bd161280e2/093624893301.jpg/{w}x{h}bb.jpeg","bgColor":"d9d5d4","textColor1":"0e0d0e","textColor2":"101010","textColor3":"363536","textColor4":"383737"},"artistName":"Gabby Barrett","isSingle":false,"url":"https://music.apple.com/us/album/goldmine/1510409258","isComplete":true,"genreNames":["Country","Music"],"trackCount":13,"isMasteredForItunes":true,"releaseDate":"2020-06-19","name":"Goldmine","recordLabel":"Warner Music Nashville","copyright":"℗ 2020 Warner Music Nashville LLC","playParams":{"id":"1510409258","kind":"album"},"editorialNotes":{"standard":"Though Gabby Barrett’s barely out of her teens, the full-throated fervor of her performances almost feels old-school. 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