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In the spirit of undoing that, Apple Music’s Nadeska Alexis sat down with Cardi B, Mulatto, Rubi Rose, and Sukihana—all of whom feature in Cardi and Megan Thee Stallion’s video for the flirty collaboration “WAP”—for a roundtable tackling these issues head-on. The women offer a glimpse into their experiences within the music industry, from sisterhood and camaraderie to the business side of things and double standards. 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\nShe titled this project after the fierce jungle cat—known for lurking undetected until, when you least expect it, they attack. “JAGUAR has helped me build my confidence and feel ready to come out of the shadows,” she tells Apple Music, explaining that she was shy and soft-spoken until she found her place on stage. “A lot of people know me first as a songwriter, but my artistry has always been there. This project allowed me the space and credibility [to explore it].” This collection of songs—the first third of what will ultimately become a three-part project, she says—feels both intimate and grand, with densely layered harmonies, serpentine melodies, and the rich, surprising instrumentation of a live band. Monét is a masterful storyteller who delights in challenging assumptions; “Big Boss” flips a lyrical cliché about catering to the male ego into an empowerment ballad for women to sing to themselves. Similarly, “Ass Like That” flatly rejects our culture’s objectification of the female body: Instead, it’s a workout anthem in which the only person whose opinion matters is the one in the mirror. Read on for her track-by-track breakdown of the project.
\nMoment\n“It instantly gives you the feeling of psychedelics and draws you into this other, warping world. A lot of my previous projects are more playful and young, so I felt like this was an opportunity to show my more mature side. When I first played it for my mom, she was like, ‘That's you?!’ She felt like it was a different side of me, a side that people who’ve heard my previous work would be excited to learn about. It’s funky and whimsical and psychedelic. And especially when the strings come in, it really takes you somewhere.”
\nBig Boss (Interlude)\n“It’d be natural to assume this song was talking to someone else, someone you want to make feel good. And it can be that! But it can also be sung to yourself. I imagine myself singing it in the mirror, like, ‘Remember who you are, remember what you have.’ It’s a form of affirmation. It’s not being cocky or conceited. It's just like, ‘This is what I feel about myself and I'm allowed to say it, to be positive about myself.’ Because sometimes, when people say something positive to me, I’ll find a way to negate it. If they say I look cute, I’ll say, ‘Oh, I just woke up.’ Something to make me feel better about receiving the compliment. But sometimes it's important to be like, 'Yes, I am,' or 'Thank you.' You know? ‘Big Boss’ does that in song form.”
\nDive\n“My music is based on stuff that I've had to absorb as a woman, and a lot of women have had to hear—whether in music or in life—men saying things that women would be frowned upon for saying, like, ‘I want to see what your head game like.’ So I felt like it was important for this project to take power back into our hands, to say things that we think about and talk about when women get together. It’s kind of like, ‘Girrrrrl,’ a little gossipy, but it’s also about us saying things to others the way they’re said to us. I also wanted to use double entendres and to make it clever so that if you played it around your grandmother, she wouldn't be like, ‘Turn it off!’ But when you really think about it and read the lyrics, you know there's deeper meaning going on.”
\nWe Might Even Be Falling in Love (Interlude)\n“Honestly, this song just felt like a vibe and it made me feel like I was in the '70s. This natural, soulful feeling with soft instrumentation. It’s a window into my more vulnerable side. A lot of the project’s songs are more aggressive, just, like, bluntly aggressive, but this one has a softer side. It feels like a cousin of ‘Dive’ to me. I'm hoping that people will love the interludes enough that one day I can do a project of all of the interludes from JAGUAR and turn them into songs.”
\nJaguar\n“I honestly don't know where ‘Jaguar’ came from. It wasn’t like I studied the animal. That's why I feel like this song in particular was a gift. It was like a gift from God, just like, ‘Okay, this is just going to pop into your head and give you a nice foundation for what you want to do.’ It ended up sounding really cool and came together in the perfect way. Later on, I brought in a string player and this horn player, Arnetta [Johnson]. I was adamant about finding a Black horn player, and my friend choreographed for Beyoncé and knew one from her Coachella set. He introduced me and I had her come in and sang her my ideas for the horn parts, and then [producer] D’Mile sang to her his idea of the horn part, and then we put those two together to make that bridge, added the strings, and it felt like magic. I want to do that a million more times.”
\nExperience\n“We released this song on Juneteenth and during Pride month, and to me, that’s a form of protest. Of standing up for yourself and being outspoken. And I had wondered, like, if I release music that feels celebratory and happy, is that dismissive of everything that we're going through? But the answer I came to was no. After discussing it with my team and people who I care about, I realized that a lot of people don't have this opportunity, so part of my responsibility is making sure that there is representation in these spaces. In my eyes, it’s almost like back in the day when people are walking on the front lines and still singing ‘We Shall Overcome.’ I’m doing it my way. Two Black artists coming together, unafraid and unapologetic about singing their song.”
\nAss Like That\n“This song just says ‘freedom.’ It says I don't really care about your opinion about the title, about the song, about the quote-unquote radio playability, any of that. I just want to write about a body part that's talked about by other people, and that's a form of taking the power back into our own hands. Because when we look in the mirror sometimes, we check our own ass out. We see if we look good in those jeans. We have goals for our own bodies. I just wanted a song that allows people to have that. Also, I love a good old workout anthem, because I work really, really hard in the gym. I have a trainer, I make sure that I'm eating healthy, and all these things are a daily focus of mine. So I think it was a way of being honest about what I’m going through.”
\nGo There With You\n“This is another song where I wanted to find the vulnerable side of this sound. Something you could really sink into. It feels simple and classic to me, and the guitars add an element that I didn't have anywhere else. After doing Jimmy Kimmel with live guitars, I realized I wanted them to be a part of my stage performance, so I love that about it. It’s also about being realistic. Jaguars can be confident and sexy, but there's still some issues that we're going to want to smooth over. [This song] gives you a nice, realistic window into any relationship, when you’re going through an argument and need to think about the positive and act on that instead.”
\nTouch Me\n“Instead of thinking about this song completing the project, I wanted it to be more of a pathway into part two for when the project completes itself as an album. It feels like a little bit of a cliffhanger to me, ending with the a cappella like that. The first track of part two starts with an a cappella, so it makes a lot of sense when you hear it down the line. But also, ‘Touch Me’ is one of the only songs where you can hear me sing a different pronoun. I say ‘girl,’ I say ‘her.’ It was really important for me to share that and make that statement so that people... I don't think that we get a lot of songs that are directly saying that, especially in a sexual way. I think it's important for music to have that. A lot of times we can make songs applicable to us, but they're not directly being like, ‘This is about a woman.’ It was a nice element to add, and based on a true story. 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Their new single “WAP” is a master class in pride for one’s lady parts and in the kind of dirty talk that could make even the most liberated among us clutch their pearls. It’s playful, it’s sexy, but most of all, it’s impossibly fun, as two of the day’s best rappers trade bars and bedroom antics. Listen to “WAP” on Rap Life, the playlist at the forefront of hip-hop culture today, and if you hear something you like, add it to your library.","short":"Cardi B and Megan Thee Stallion bare it all on the playfully sexy “WAP.”"}}}]}}},{"id":"1526772192","type":"editorial-elements","attributes":{"editorialElementKind":"317","doNotFilter":false,"designBadge":"PRE-ADD NOW"},"relationships":{"contents":{"data":[{"id":"1526449289","type":"albums","href":"/v1/catalog/us/albums/1526449289?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music114/v4/66/68/08/6668084e-88ea-488e-7100-2f214d9f3bd4/5060726324977.png/{w}x{h}bb.jpeg","bgColor":"edddcd","textColor1":"090806","textColor2":"39312c","textColor3":"37322e","textColor4":"5d534c"},"artistName":"Holly Humberstone","isSingle":false,"url":"https://music.apple.com/us/album/falling-asleep-at-the-wheel-ep/1526449289","isComplete":false,"genreNames":["Pop","Music","Alternative"],"trackCount":7,"isMasteredForItunes":false,"releaseDate":"2020-08-14","name":"Falling Asleep at the Wheel - EP","recordLabel":"Platoon","copyright":"℗ 2020 Holly Humberstone","playParams":{"id":"1526449289","kind":"album"},"editorialNotes":{"standard":"“I find having conversations really hard,” singer-songwriter Holly Humberstone tells Apple Music. “Putting things into the context of a song makes it much easier for me to [talk about].” It’s no surprise, then, that the East Midlander’s debut EP is a collection of profoundly personal thoughts and feelings that the fast-rising talent is seemingly unable to say out loud. 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What I found in music is I can just let it all out.” The New Zealand pop artist grew up as a “weird kid” in a highly creative environment, willing to try out every hobby—until she joined the school choir and realized she’d found her calling. She soon began releasing covers online, and it didn’t take long to start experimenting with her own original sound. In her Up Next film, she talks being obsessed with Harry Potter, getting encouraged by her school friends, and refusing to be tied down to any one genre. And in an interview with fellow Kiwi Apple Music’s Zane Lowe, she discusses finding inspiration in artists like Lorde and Lily Allen, not being afraid to confront her anxiety in music, and the challenges of reimagining her rise—and a demanding touring schedule—due to the COVID-19 restrictions. 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\nBut he’s focused the set on slightly more seasoned vantage points and time-tested sounds, like a galloping, orchestrated, singer-songwriter-style reunion with an old love (“Where Are We Goin’”), a slice of Tex-Mex-tinged, wounded ’90s honky-tonk bravado (“Little Less Broken”), and a sentimental narrative of a kid coping with the loss of his fallen soldier father (“Build Me a Daddy”). During the title track, Bryan elevates a simple country sentiment that he's threaded through his work—finding meaning in small-town stability—to the level of grand gesture, swelling into the chorus’s creed: “Yeah, I’m gonna be proud to be right here.”","short":"The quintessential modern country superstar reaffirms where his heart is."},"isCompilation":false}}]}}},{"id":"1526772195","type":"editorial-elements","attributes":{"editorialElementKind":"317","doNotFilter":false,"designBadge":"UPCOMING ALBUM: ADD NOW"},"relationships":{"contents":{"data":[{"id":"1514674249","type":"albums","href":"/v1/catalog/us/albums/1514674249?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/d0/0f/8e/d00f8e9e-f646-00a8-d0cf-ff2093248ae0/886448495529.jpg/{w}x{h}bb.jpeg","bgColor":"8881d1","textColor1":"040303","textColor2":"151616","textColor3":"1f1c2c","textColor4":"2c2b3b"},"artistName":"Orville Peck","isSingle":false,"url":"https://music.apple.com/us/album/show-pony-ep/1514674249","isComplete":false,"genreNames":["Country","Music"],"trackCount":6,"isMasteredForItunes":false,"releaseDate":"2020-08-14","name":"Show Pony - EP","recordLabel":"Columbia","copyright":"℗ 2020 Columbia Records, a Division of Sony Music Entertainment, Sub Pop Records under exclusive license to Columbia Records","playParams":{"id":"1514674249","kind":"album"},"editorialNotes":{"standard":"Orville Peck’s Pony arrived in 2019 with no shortage of drama: There was, of course, the pseudonym and the trademark fringed mask, but above all, his tremulous croon spinning neo-traditional country tales with some subversive twists. This six-track coda—Peck’s debut on Columbia after exiting Sub Pop—is a step further into the limelight thanks in no small part to “Legends Never Die,” a much-anticipated duet with none other than Shania Twain. But it’s the EP’s closing track, a cover of Bobbie Gentry’s “Fancy,” that ambles into truly epic territory, setting the stage for whatever comes next. Pre-add Show Pony to your library now and it will appear in full when the EP arrives on August 14.","short":"A six-song coda to last year’s breakout packs drama and Shania."},"isCompilation":false}}]}}},{"id":"1526772196","type":"editorial-elements","attributes":{"editorialElementKind":"317","doNotFilter":false,"designBadge":"EXCLUSIVE EP"},"relationships":{"contents":{"data":[{"id":"1526139597","type":"albums","href":"/v1/catalog/us/albums/1526139597?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music124/v4/ba/a7/ce/baa7cee7-98ba-d987-206a-b8a0bfc579b8/20UMGIM66551.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"415d84","textColor1":"ffffff","textColor2":"dbe5f5","textColor3":"d8dee6","textColor4":"bccade"},"artistName":"Ellie Goulding","isSingle":false,"url":"https://music.apple.com/us/album/at-home-with-ellie-goulding-the-session-single/1526139597","isComplete":false,"genreNames":["Pop","Music"],"trackCount":2,"isMasteredForItunes":true,"releaseDate":"2020-08-07","name":"At Home With Ellie Goulding: The Session - Single","recordLabel":"Polydor Records","copyright":"A Polydor Records Release; ℗ 2020 Polydor Limited","playParams":{"id":"1526139597","kind":"album"},"editorialNotes":{"standard":"“I made my father-in-law sob,” Ellie Goulding tells Apple Music. “That in itself makes me think I’ve hopefully done an all right job.” Goulding is feeling slightly anxious about recording a version of Nick Cave’s “Into My Arms” for her exclusive Apple Music At Home With Session. Like her weepy in-laws, we also don’t feel there’s any cause for concern. She taps into the majestic sorrow of a song she feels “people may have needed to hear at one point of a quarantine.” Goulding is also passionate about shining a light on the Australian legend for some of her younger fans. “There are songs that are eternal and invincible,” she says. “This is one of them, and I’m very passionate about trying to act as a gatekeeper of these songs and these iconic artists where I can.”
\nGoulding’s other selection highlights the emotional heft of her own writing. “Love I’m Given” is perhaps her album Brightest Blue’s most impactful moment, and it’s given added poignancy in this stripped-back setting. “As a woman in my job, I’ve felt I’ve had to apologize quite a lot for no reason,” she says. “With this song I’m singing about paying for the things I’ve done, but also asking, ‘What did I do?’ Part of that is to do with impostor syndrome, and it’s also where you’ve got yourself into a place of power and now have to apologize for it. I had also met someone at that time who I was giving out a certain kind of superficial love to, and receiving the same back. I then reached a place where I could give out this much cleaner, more pure love and began receiving it back in my life. So I’ve reached a place of power, but one that’s also quite peaceful.”
\nDespite releasing Brightest Blue during the complex summer of 2020, the enforced simplicity of life has clearly benefited the singer-songwriter. “It’s been a time without distraction,” she says. “I think a lot of us use distractions to sort of escape what’s really going on with us. I found out what was really going on with me and I feel like I’ve been in a place to sort of deal with it.” And did lockdown spark any other good habits? “I’ve been playing the guitar a lot!” she says. “I’ll have a couple of wines and get lost in it. I could really shred on guitar, so it’s been nice to start improving again. Oh, and it’s been very nice to realize that I absolutely do not need to go shopping. 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The Sacramento singer has a gift for making sexy yet subversive R&B and pop that challenges social norms around gender, race, and sexuality. And not just as a recording artist: She’s already one of the industry’s most in-demand songwriters and producers, collaborating on standouts by Fifth Harmony, Brandy, Chloe x Halle, and more—even grabbing two Grammy nominations for her work on Ariana Grande’s thank u, next.
\nShe titled this project after the fierce jungle cat—known for lurking undetected until, when you least expect it, they attack. “JAGUAR has helped me build my confidence and feel ready to come out of the shadows,” she tells Apple Music, explaining that she was shy and soft-spoken until she found her place on stage. “A lot of people know me first as a songwriter, but my artistry has always been there. This project allowed me the space and credibility [to explore it].” This collection of songs—the first third of what will ultimately become a three-part project, she says—feels both intimate and grand, with densely layered harmonies, serpentine melodies, and the rich, surprising instrumentation of a live band. Monét is a masterful storyteller who delights in challenging assumptions; “Big Boss” flips a lyrical cliché about catering to the male ego into an empowerment ballad for women to sing to themselves. Similarly, “Ass Like That” flatly rejects our culture’s objectification of the female body: Instead, it’s a workout anthem in which the only person whose opinion matters is the one in the mirror. Read on for her track-by-track breakdown of the project.
\nMoment\n“It instantly gives you the feeling of psychedelics and draws you into this other, warping world. A lot of my previous projects are more playful and young, so I felt like this was an opportunity to show my more mature side. When I first played it for my mom, she was like, ‘That's you?!’ She felt like it was a different side of me, a side that people who’ve heard my previous work would be excited to learn about. It’s funky and whimsical and psychedelic. And especially when the strings come in, it really takes you somewhere.”
\nBig Boss (Interlude)\n“It’d be natural to assume this song was talking to someone else, someone you want to make feel good. And it can be that! But it can also be sung to yourself. I imagine myself singing it in the mirror, like, ‘Remember who you are, remember what you have.’ It’s a form of affirmation. It’s not being cocky or conceited. It's just like, ‘This is what I feel about myself and I'm allowed to say it, to be positive about myself.’ Because sometimes, when people say something positive to me, I’ll find a way to negate it. If they say I look cute, I’ll say, ‘Oh, I just woke up.’ Something to make me feel better about receiving the compliment. But sometimes it's important to be like, 'Yes, I am,' or 'Thank you.' You know? ‘Big Boss’ does that in song form.”
\nDive\n“My music is based on stuff that I've had to absorb as a woman, and a lot of women have had to hear—whether in music or in life—men saying things that women would be frowned upon for saying, like, ‘I want to see what your head game like.’ So I felt like it was important for this project to take power back into our hands, to say things that we think about and talk about when women get together. It’s kind of like, ‘Girrrrrl,’ a little gossipy, but it’s also about us saying things to others the way they’re said to us. I also wanted to use double entendres and to make it clever so that if you played it around your grandmother, she wouldn't be like, ‘Turn it off!’ But when you really think about it and read the lyrics, you know there's deeper meaning going on.”
\nWe Might Even Be Falling in Love (Interlude)\n“Honestly, this song just felt like a vibe and it made me feel like I was in the '70s. This natural, soulful feeling with soft instrumentation. It’s a window into my more vulnerable side. A lot of the project’s songs are more aggressive, just, like, bluntly aggressive, but this one has a softer side. It feels like a cousin of ‘Dive’ to me. I'm hoping that people will love the interludes enough that one day I can do a project of all of the interludes from JAGUAR and turn them into songs.”
\nJaguar\n“I honestly don't know where ‘Jaguar’ came from. It wasn’t like I studied the animal. That's why I feel like this song in particular was a gift. It was like a gift from God, just like, ‘Okay, this is just going to pop into your head and give you a nice foundation for what you want to do.’ It ended up sounding really cool and came together in the perfect way. Later on, I brought in a string player and this horn player, Arnetta [Johnson]. I was adamant about finding a Black horn player, and my friend choreographed for Beyoncé and knew one from her Coachella set. He introduced me and I had her come in and sang her my ideas for the horn parts, and then [producer] D’Mile sang to her his idea of the horn part, and then we put those two together to make that bridge, added the strings, and it felt like magic. I want to do that a million more times.”
\nExperience\n“We released this song on Juneteenth and during Pride month, and to me, that’s a form of protest. Of standing up for yourself and being outspoken. And I had wondered, like, if I release music that feels celebratory and happy, is that dismissive of everything that we're going through? But the answer I came to was no. After discussing it with my team and people who I care about, I realized that a lot of people don't have this opportunity, so part of my responsibility is making sure that there is representation in these spaces. In my eyes, it’s almost like back in the day when people are walking on the front lines and still singing ‘We Shall Overcome.’ I’m doing it my way. Two Black artists coming together, unafraid and unapologetic about singing their song.”
\nAss Like That\n“This song just says ‘freedom.’ It says I don't really care about your opinion about the title, about the song, about the quote-unquote radio playability, any of that. I just want to write about a body part that's talked about by other people, and that's a form of taking the power back into our own hands. Because when we look in the mirror sometimes, we check our own ass out. We see if we look good in those jeans. We have goals for our own bodies. I just wanted a song that allows people to have that. Also, I love a good old workout anthem, because I work really, really hard in the gym. I have a trainer, I make sure that I'm eating healthy, and all these things are a daily focus of mine. So I think it was a way of being honest about what I’m going through.”
\nGo There With You\n“This is another song where I wanted to find the vulnerable side of this sound. Something you could really sink into. It feels simple and classic to me, and the guitars add an element that I didn't have anywhere else. After doing Jimmy Kimmel with live guitars, I realized I wanted them to be a part of my stage performance, so I love that about it. It’s also about being realistic. Jaguars can be confident and sexy, but there's still some issues that we're going to want to smooth over. [This song] gives you a nice, realistic window into any relationship, when you’re going through an argument and need to think about the positive and act on that instead.”
\nTouch Me\n“Instead of thinking about this song completing the project, I wanted it to be more of a pathway into part two for when the project completes itself as an album. It feels like a little bit of a cliffhanger to me, ending with the a cappella like that. The first track of part two starts with an a cappella, so it makes a lot of sense when you hear it down the line. But also, ‘Touch Me’ is one of the only songs where you can hear me sing a different pronoun. I say ‘girl,’ I say ‘her.’ It was really important for me to share that and make that statement so that people... I don't think that we get a lot of songs that are directly saying that, especially in a sexual way. I think it's important for music to have that. A lot of times we can make songs applicable to us, but they're not directly being like, ‘This is about a woman.’ It was a nice element to add, and based on a true story. People who have been around for a minute will pick up on that.”\n","short":"Sweeping, psychedelic R&B/pop from one of the year’s breakout stars."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1525254127","type":"albums","href":"/v1/catalog/us/albums/1525254127?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music114/v4/cf/53/19/cf5319c3-60a6-3020-cbec-c75a4eda1281/093624890195.jpg/{w}x{h}bb.jpeg","bgColor":"cdcb9a","textColor1":"0d0613","textColor2":"2e1f16","textColor3":"332e2e","textColor4":"4e4130"},"artistName":"NLE Choppa","isSingle":false,"url":"https://music.apple.com/us/album/top-shotta/1525254127","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":20,"isMasteredForItunes":false,"releaseDate":"2020-08-07","name":"Top Shotta","recordLabel":"Warner Records","copyright":"℗ 2020 NLE Choppa Entertainment Inc., under exclusive license to Warner Records Inc.","playParams":{"id":"1525254127","kind":"album"},"editorialNotes":{"standard":"NLE’s Top Shotta album contains the third, fourth, and fifth iterations of his popular “Shotta Flow” song series, but if you let him tell it, these are the last of them. “I don't plan on making no more after the fifth one,” the Memphis-born MC tells Apple Music. “I'm really trying to get away from them, 'cause there's way more to my music than that shit.” Doing his absolute best to prove this claim, he delivers Top Shotta at a strapping 20 songs. Outside of the “Shotta Flow” selections, where Choppa unfurls inspired non sequitur over charging low-end-driven production, there aren’t too many outright bar exhibitions, the MC instead choosing to focus on diversifying his catalog. Over production from hitmakers like CashMoneyAp, TNT, and Quay Global, Choppa aims to give fans what they’ve been missing in the eight months since 2019’s Cottonwood project, and then some.
\n“I was recording different types of songs on different types of beats every night,” he says of the months leading up to Top Shotta's release. “I might make some shit about murder one night, come back in the studio and make a song about how I feel or who done did me wrong or how I feel left out—I might make some pain shit and then make some love shit. But it will be a rotation to where you never have the same type of song. It's like flavors of Starbursts or some shit. You got yellow, red, orange... You don't want to just open up a pack full of yellows or your ass gon' be mad.” Below, NLE Choppa breaks down a few of the flavors he’s included in Top Shotta.
\nDaydream\n“It’s not daydreaming anymore, it's more manifesting [for me] now, claiming what's already yours. It’s like something you already got, you just got to work towards it and get it. So I really call daydreaming 'manifesting' now.”
\nGamble With My Heart\n“I was in my feelings, and that's pretty much just me letting it out on a beat. I freestyle all my music, so whatever comes out comes straight from right when I'm there, all in the moment. 'Gamble With My Heart' is one of my favorites ’cause it just feels like I slowed down the perspective and I address a lot of stuff in it.”
\nWho TF Up in My Trap\n“When I came across it, the beat didn't even sound as good as it sounds now. It's a sample that was turned down at first, but when we got to mix it, we turned the volume up and it brought out the whole song. The song was good, but we could tell it was missing certain things. I knew the mix was going to be the most important part about everything. And that is one of the best mixes. That one surprised the shit out of me.”
\nMake Em Say (feat. Mulatto)\n“Somebody from the label played [Mulatto’s] verse for me. And I was just like, man, I fuck with it. They was telling me, ‘Man, you got to come different, you know this ain’t what you always recording on.’ And so the whole time, I was just focused on tryna make one of those ratchet bangers for the summer—in case things would've gotten back to normal by then. It ain't get back to normal, but it still had to go on my album because it can still slide to the end of the summer.”
\nWalk Em Down (feat. Roddy Ricch)\n“I ain't gon' lie, Roddy Ricch’s Feed Tha Streets II album, the one that blew him up blew him up, I related to that whole album before I blew up. He had hits on that bitch. I was like one of the first n***as in my city that was bumping him. For 'Walk Em Down,' I just DM'd him and he pulled up to the studio the same night.”
\nShotta Flow 4 (feat. Chief Keef)\n“All of [Chief Keef’s] drill songs I used to fuck with: ‘Love Sosa,’ ‘I Don't Like’—I used to fuck with all them bitches. I felt like I had to do a song with Keef ’cause he was a part of my childhood. I know once people hear that, they're going to love that one, because they've been waiting on Chief to get back on that drill type of music.”
\nParanoid\n“I walked in the studio and I said, ‘I just want to make something out of my element.’ I also wanted to make it so it could be suitable towards women. I fuck with that song because it shows a lot of versatility and I know like a few months ago I wouldn't have been able to go get on that beat. I don’t think that I would’ve had it in me. So I feel like I really been growing.”","short":"“I feel like I really been growing.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1497942465","type":"albums","href":"/v1/catalog/us/albums/1497942465?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music123/v4/b9/70/e2/b970e208-7e7b-9072-e0c2-7aa11d416dbb/20UMGIM08159.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"19191b","textColor1":"fcfdf7","textColor2":"d6e4ed","textColor3":"cecfcb","textColor4":"b0bbc3"},"artistName":"Luke Bryan","isSingle":false,"url":"https://music.apple.com/us/album/born-here-live-here-die-here/1497942465","isComplete":true,"genreNames":["Country","Music"],"trackCount":10,"isMasteredForItunes":true,"releaseDate":"2020-04-24","name":"Born Here Live Here Die Here","recordLabel":"Capitol Records Nashville","copyright":"A Capitol Records Nashville Release; ℗ 2020 Row Crop Records, LLC, under exclusive license to UMG Recordings, Inc.","playParams":{"id":"1497942465","kind":"album"},"editorialNotes":{"standard":"Luke Bryan is the epitome of an easygoing contemporary country superstar. He began his ascent as an amiable ambassador of rural identity in the late 2000s, a few years ahead of the format’s turn towards beat-driven production and hip-hop swagger, and adjusted to those trends so successfully that his gregarious party tunes ruled the country charts throughout the 2010s. Emerging on the other end of that run with his seventh studio album Born Here Live Here Die Here, Bryan’s easing into another transition. He still makes plenty of room for pop-informed bite in tracks like “What She Wants Tonight,” with its gleaming, night-on-the-town hook, “One Margarita,” with its breezy beachfront cadence and subtly metallic effects, and “Down to One,” whose romantic nostalgia is layered with icy synths and glassy guitar tones.
\nBut he’s focused the set on slightly more seasoned vantage points and time-tested sounds, like a galloping, orchestrated, singer-songwriter-style reunion with an old love (“Where Are We Goin’”), a slice of Tex-Mex-tinged, wounded ’90s honky-tonk bravado (“Little Less Broken”), and a sentimental narrative of a kid coping with the loss of his fallen soldier father (“Build Me a Daddy”). During the title track, Bryan elevates a simple country sentiment that he's threaded through his work—finding meaning in small-town stability—to the level of grand gesture, swelling into the chorus’s creed: “Yeah, I’m gonna be proud to be right here.”","short":"The quintessential modern country superstar reaffirms where his heart is."},"isCompilation":false}},{"id":"1526031437","type":"albums","href":"/v1/catalog/us/albums/1526031437?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music124/v4/24/b7/1b/24b71bab-67bb-5db7-feca-a5a32dde6211/20UMGIM66717.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"fb8a14","textColor1":"000000","textColor2":"3e120b","textColor3":"321b04","textColor4":"632a0d"},"artistName":"DaBaby","isSingle":false,"url":"https://music.apple.com/us/album/blame-it-on-baby-deluxe/1526031437","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":24,"isMasteredForItunes":false,"releaseDate":"2020-08-04","name":"BLAME IT ON BABY (DELUXE)","recordLabel":"South Coast Music Group/Interscope Records","copyright":"South Coast Music Group/Interscope Records; ℗ 2020 Interscope Records","playParams":{"id":"1526031437","kind":"album"},"editorialNotes":{"standard":"When BLAME IT ON BABY first arrived in April 2020, it was a beacon of normalcy for rap fans who’d spent the better part of 2019 enjoying DaBaby’s husky and endlessly energetic flow as displayed on two separate projects of his own and countless guest spots for peers. Four months later, BLAME IT ON BABY (DELUXE) refreshes that feeling by way of 10 new songs added to the 13 of the original. Across them, DaBaby is rapping excitedly—as he is wont to do—but also singing in a way that may surprise even longtime fans (“TROUBLE” and the Young Thug collaboration “BLIND”). Along with Thugger, DELUXE features guest appearances from Billion Dollar Baby affiliates Stunna 4 Vegas and Rich Dunk, along with maybe the only other MC of the era to travel as far down the road to rap stardom quickly as DaBaby has, Gunna.","short":"One of the biggest rap albums of 2020 gets 10 new tracks."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1526675363","type":"albums","href":"/v1/catalog/us/albums/1526675363?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/c2/9a/c1/c29ac179-609a-82b2-4d1f-9ba5e4137824/093624888048.jpg/{w}x{h}bb.jpeg","bgColor":"020204","textColor1":"f5ffff","textColor2":"a6c8bf","textColor3":"c4cccc","textColor4":"85a09a"},"artistName":"Popcaan","isSingle":false,"url":"https://music.apple.com/us/album/fixtape/1526675363","isComplete":true,"genreNames":["Reggae","Music"],"trackCount":19,"isMasteredForItunes":false,"releaseDate":"2020-08-07","name":"FIXTAPE","recordLabel":"OVO Sound/Warner Records","copyright":"℗ 2020 OVO Sound/Warner Records Inc.","playParams":{"id":"1526675363","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1521742168","type":"albums","href":"/v1/catalog/us/albums/1521742168?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music124/v4/3d/e7/33/3de733c4-307f-8c26-6473-165e989cc4ce/20UMGIM53036.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"fdfdfd","textColor1":"0b0c0a","textColor2":"0f1011","textColor3":"3b3c3a","textColor4":"3f3f40"},"artistName":"Aminé","isSingle":false,"url":"https://music.apple.com/us/album/limbo/1521742168","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":14,"isMasteredForItunes":true,"releaseDate":"2020-08-07","name":"Limbo","recordLabel":"Republic Records","copyright":"CLBN, LLC; ℗ 2020 Republic Records, a division of UMG Recordings, Inc.","playParams":{"id":"1521742168","kind":"album"},"editorialNotes":{"standard":"“This is some shit you go and pick your homie up from jail with,” Aminé announces to open Limbo, his second studio album. What follows reflects a wide-ranging version of the Portland rapper—at once introspective and lighthearted, weighty confessionals alongside freewheeling levity. It effectively captures the state suggested by its title, the messy, complicated, and triumphant glory of a quarter-life crisis. Of course romance is the primary recurring theme, because what is the heart if not life's greatest limbo.
\n“Can't Decide” captures the indecision of situationships and those in-between states of maybe friends, maybe more, while “Riri” is a wounded survey of lost loves that manages to not sound wounded at all (and brims with pop culture references to boot). The silken “Easy” is a duet with Summer Walker about making it work even and especially when times are difficult. Elsewhere, he offers a show of maternal gratitude on “Mama” (“You're the only woman in my life who makes me smile,” he croons in falsetto), and conversely, “Fetus” wrestles with the prospect of parenthood and all that comes with it. Album closer “My Reality” pauses to breathe in all that life has brought to the rapper and exhales as a resounding thank-you.
\nOne of Aminé‘s greatest strengths is his versatility; he can effortlessly switch up his flows or a song's mood, going from a frenzied cadence to honeyed singing in a flash. He uses his voice as well as his production choices to build in contrast—nothing is ever too serious or flippant—and it makes for an intriguing listen that constantly pulls at the ear. At its core, Limbo is a searching album that often poses more questions than it answers, but Aminé makes the journey itself its own kind of pleasure.","short":"The messy, complicated, and triumphant glory of a quarter-life crisis."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1508562310","type":"albums","href":"/v1/catalog/us/albums/1508562310?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music124/v4/1a/97/0b/1a970bce-6173-c136-1d0e-8ae92f5e5e84/20UMGIM03371.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ccabe7","textColor1":"0c000f","textColor2":"33003d","textColor3":"32223a","textColor4":"52225f"},"artistName":"Glass Animals","isSingle":false,"url":"https://music.apple.com/us/album/dreamland/1508562310","isComplete":true,"genreNames":["Pop","Music"],"trackCount":16,"isMasteredForItunes":true,"releaseDate":"2020-08-07","name":"Dreamland","recordLabel":"Polydor Records","copyright":"℗ 2020 Wolf Tone Records, a division of Universal Music Operations Limited","playParams":{"id":"1508562310","kind":"album"},"editorialNotes":{"standard":"In July 2018, Glass Animals drummer Joe Seaward was riding his bicycle in Dublin when he was hit by a truck and nearly died. After spending weeks in the hospital unable to speak or move, he learned how to walk, talk, and read again while his body healed. For his bandmates, the experience was excruciating and profound, the kind that made frontman Dave Bayley “zoom out” and ask existential questions about trauma, art, and mortality. “I started thinking back to stories from my childhood in Texas before my family moved to England,” he tells Apple Music. The experience wasn’t necessarily pleasant. “Your brain goes to weird places.”
\nBayley doesn’t particularly enjoy writing about himself, but wound up circling his own memories for the band’s introspective third album—specifically, those emotionally charged moments when innocence is lost. Strung together by interludes ripped from his family’s home videos and production inspired by early-aughts hip-hop (the soundtrack of his youth), Dreamland is a deeply personal account of Bayley’s journey into adulthood that chases an ever-looming question: “How did I get here?” Below, the London-based musician opens up about the stories behind a few standout songs.
\nSpace Ghost Coast to Coast\n“I’ve tried to tell this story somewhat vaguely because I hate the idea of revealing someone's identity, and this person in particular has rebuilt themselves, which is an incredible thing. This song is about a very good friend I had growing up, back in those formative years when I was first discovering hip-hop—Eminem, Busta Rhymes, Missy Elliott, all of whom I tried to channel in the production—and also discovering myself. We went to camp together, we got into trouble together, but we were both always nervous and shy about everything. There was gentleness to it all. When my family moved to England, we fell out of touch, and a couple of years later I found out that he’d brought a gun to school and tried to do a shooting. He got caught on the way in, no one died, but it affected me. It didn't add up in my head. He was the person I watched cartoons with and played kickball with... I couldn’t understand it. It was the first time I really understood how much things can change, that people you love can do things that you won't understand. It was a breaking of innocence.”
\nIt's All So Incredibly Loud\n“This song is about saying something that you know is going to really hurt somebody—something they'll never forgive you for and that will probably make them hate you—and the three seconds right after you say those words. That silence that feels like the loudest fucking thing ever. I began with a particular moment in mind, but then I just started thinking back on all the times I've been...well, maybe not a dick, but close. All the times I've hurt somebody, and sitting with what that felt like. It’s quite abstract compared to the rest of the songs on the record because I wanted it to apply to a lot of situations.”
\nDomestic Bliss\n“This song was sparked by one of my very first memories—the first where I can trace the whole sequence of events. I was maybe six. I went to my friend’s house after school one day, and it was a weird place. There were dogs in cages, wild cats in cages; I didn't really understand it. We weren’t allowed in the house—we always played in this woodsy area nearby—but sometimes there’d be loud shouting from inside. My friend would turn to me and be like, 'Oh god, she's going to come out crying.' And his mom would come out of the house in tears with blood on her nose and things like that. I remember it hitting me, just that it was so bad. And then we'd all get back in the truck and she'd take me home. I guess the song is about the helplessness you feel in situations like that. When you know it’s bad but also that you’re too young to really get it.”
\nHeat Waves\n“It began with a personal experience that everyone has had: A friend starts dating someone and slowly, they change the way they dress. And then the way they talk. And then everything. Eventually it gets to the point where you’re like, ‘Who is that? Where did my friend go?’ Well, this song is about realizing that it’s happened to you, that it's you that's changed. You've become someone that you aren't. I was trying to figure out whether it’s a good thing or a bad thing, but ultimately I think it's about hitting a wall—a point where you can't change anymore or you’ll lose the foundation of who you are. You’ll become an attachment for this other person. It’s happened to me and I’ve seen it happen to so many friends. And there’s a moment when you see your reflection and you're like, ‘Oh, fuck.’ All of the lyrics play into that—mirages, hallucinations, things like that.”
\nHelium\n“This is the only song that gets at any resolution and isn’t groundbreaking. It basically says that we have to accept that we're all doing the best we can. We're doing it on top of tattered foundations with all these rocky cracks—because it’s never perfect, right?—but we’re trying. We build what we can, we make a life, we do our best. And that’s just fine. By this point in the writing process, I had become more comfortable being confused about everything. I had stopped searching for answers or wishing I’d done everything differently. It was a relief to get to that point. There are plenty of times when you look back and realize you got it wrong, but you have to forgive yourself, because you’ve probably, hopefully, become a better person for it. People spend so much time trying to be a kid forever or go back to their youth, but the whole reason these memories even matter to us is because of the wisdom we’ve gained from them. Even if we could go back, we probably wouldn’t, because they’ve made us who we are.”","short":"The UK psych-pop band turns a brush with tragedy into introspection."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1520488140","type":"albums","href":"/v1/catalog/us/albums/1520488140?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music113/v4/16/19/8f/16198f65-1474-38eb-2f77-0acb6158f4d0/purplenooncopyfrom_clipboard.jpg/{w}x{h}bb.jpeg","bgColor":"b1bdf9","textColor1":"231f24","textColor2":"242b36","textColor3":"3f3f4f","textColor4":"40485d"},"artistName":"Washed Out","isSingle":false,"url":"https://music.apple.com/us/album/purple-noon/1520488140","isComplete":true,"genreNames":["Alternative","Music","Rock"],"trackCount":10,"isMasteredForItunes":true,"releaseDate":"2020-08-07","name":"Purple Noon","recordLabel":"Sub Pop Records","copyright":"℗ 2020 Sub Pop Records","playParams":{"id":"1520488140","kind":"album"},"editorialNotes":{"standard":"Ernest Greene has no issue with being called an escapist. “When I write,” he tells Apple Music, “I'm very much someone that's scoring a film or something: I like to have a picture in my head as I'm putting the music together. Oftentimes, they're idealized situations or romanticized versions of reality. But that's what I love about music: The stuff that I keep coming back to just has a way of taking me somewhere else, for better or for worse.” For Purple Noon, his fourth LP under the Washed Out alias, Greene traveled to Greece for inspiration—images and atmosphere he could evoke once he returned home to Atlanta and began writing. (That’s him on the cover, photographed by his wife on the island of Santorini.) Sonically, it’s his most direct work to date, influenced in large part by writing sessions with LA R&B artist Sudan Archives in 2018. “The real eye-opening thing was just stepping outside of the Washed Out world,” he says. “I feel like I pretty much have a sound and a certain palette, but if I'm writing for someone else, I can try new things. I had never really written with 808s and more modern pop elements. Early in my career, I was really influenced by a lot of older recordings and I wanted my records to have a warmer sound that might sound slightly vintage. With this one, it was very much just trying to sound as bright and as powerful as possible.” Here, he takes us through the album, track by track.
\nToo Late\n“It's one of the more modern-sounding productions I've done. I felt like when I was starting out, 10 years ago, the traditional approach was to have your chorus be the busiest, most euphoric moment in the song. And nowadays, I think it's really interesting: In so many pop songs, the chorus is a moment where oftentimes things are really stripped back and intimate, but maybe there's a big payoff at the very end. I’ve never really tried that with a song, and I felt like it worked fairly well with ‘Too Late.’”
\nFace Up\n“It's like when you've reached that point in a relationship where you're not sure whether you should just try harder or sort of cut your losses. I'm very happily married, but I've been in relationships like that in the past, and I'd say probably 90% of the stories from the record are from my own past, stories that are 10 or 15 years old now. There was definitely a period of my time where my love life was a little bit more all over the place. I was so sick of doing the sample thing, and with this whole record in general, I wrote pretty much all of it when I was just sitting down at a piano or a keyboard. And because of that, not only did I move much faster, but the focus was a lot more on traditional songcraft and has to do with experimenting with sound. It was like there was a song from the very beginning, with a melody and lyrics, and then the production was sort of figured out after the fact, which is the first time I've ever really done that.”
\nTime to Walk Away\n“I didn't think that as I was writing it, but a few people have mentioned that it reminds them of Chris Isaak’s ‘Wicked Game.’ And it's not a surprise—I'm a huge fan of that song. I think its melody shares a lot sensibility-wise with what comes most naturally to me: It’s quite sad, but there's also this kind of weirdly uplifting quality about it too. One of my earliest influences was the photographer Herb Ritts, who was a pretty famous fashion photographer in the early ’90s and then kind of graduated into making music videos. He made the video for ‘Wicked Game,’ the black-and-white video where he and the model are rolling around in the sand and stuff. I literally had Herb Ritts' photos all over my studio, hung up. Maybe that seeped into my unconscious.”
\nParalyzed\n“The melody and the lyrics that I came up with, for me at least, felt like the closest thing I'd ever really done to an R&B-style song. Believe me, I don't kid myself into thinking that I could ever really sing R&B, but I kind of took that approach with just the instrumentation and just the production in general. It has kind of a natural swing to the rhythm that I rarely really do in my records, but it just sort of felt right, so I kept following it. I think this song has taken on a new meaning in our current pandemic situation. It’s about a long-distance relationship and missing someone, and when I was writing it, I was thinking more about me going on tour, being gone for a couple of weeks or a month. For so many people right now, I imagine, they might be a long way away from their loved ones.”
\nReckless Desires\n“There's this song called ‘Why’ by Carly Simon, a song I’ve really loved for a while now. It's produced by Nile Rodgers and Bernard Edwards of Chic. And not only is it just a great pop song, but I feel like it's quite interesting. It has this sort of reggae bounce to it, but it doesn't feel like a traditional reggae song. There's a lot happening with the bass and the drums that are a little bit more funky than what a reggae song would be. I've always wanted to write a song like that, and this is the one. That sound was particularly relevant with the coastal kind of vibe I was going for.”
\nGame of Chance\n“If you would've told me five or ten years ago that I was going to put an acoustic guitar ballad on my album, I would have said, ‘Definitely not.’ I'm not a very good guitar player, but I happened to be just doodling around one day, and just started playing the chords and it sort of happened naturally. And one of the components is the style of music called Balearic music, which has loose ties with the Mediterranean and Ibiza. So much of that music has this very resonant sort of acoustic guitar element that I've always really liked. I knew I wanted to include that acoustic guitar vibe somewhere on the record, but I didn't realize it was going to be probably the most stripped-down song I've ever done. At times, it's just an acoustic guitar, vocal, and maybe a little bit of percussion. It’s actually one of my favorite songs, surprisingly. It’s just so different than anything I've really done before.”
\nLeave You Behind\n“The producer I was working with [Ben H. Allen] was like, ‘You know, your sense of melody is quite similar to Sade’s.’ And I’d never made that connection before, so I dove into some of her records, and sonically it was really inspiring. The music is so lush and it makes me think of some really posh European beach resort or something. I mean that in the best possible way. This is very much a song where I was hoping to channel a little bit of Sade’s influence. I never would have thought that I would use a steel drum sound in my work—that just seemed too obvious—but there's a little musical motif in the intro and a few other times, and it’s an actual steel drum sound. One of those things where if it didn't happen so easily and just fit so well, I never would have considered it really. But it totally worked.”
\nDon’t Go\n“I did most of the instrumentation on the computer, with virtual instruments and this software called Omnisphere. It’s really, really popular with film composers like Hans Zimmer. There’s some sounds that are over the top, like the war drums that you hear in every fight sequence of a big-budget Hollywood movie. I try to stay away from anything like that, but the texture that opens the song sounds like a Middle Eastern stringed instrument or something. I thought it sounded unique, and immediately for me it kind of conjured up these images right off the bat—and that's where the song started from. The melody came naturally; it just needed that huge support around it. In times past, I might have held back a little bit, but so much I was trying to do with this album was really make it as powerful sonically as I could.”
\nHide\n“I think this was the last song that I wrote for the album, and at that point, I had a rough sort of track sequence and I was thinking a little bit more strategically about what was missing. I felt like deeper into the record, after some slower ballads, it would make sense to have something a little bit more rhythmic. I think the synth bassline is the one thing that kind of keeps the song kind of driving forward. I kind of shaped the song around that. The guy that was mixing the record [Ben H. Allen] compared it to Kate Bush's ‘Running Up That Hill.’”
\nHaunt\n“It shares some similarities with ‘Don't Go’ in that sonically it gets quite dramatic at times. I think it's probably the emotional climax of the record, so why not end that way? That was one of the most challenging songs I've ever sung. I mean, not only is it just a dense arrangement, but the emotion really had to be in the performance for it to work. I actually had to do it a couple of different times to get it right. And it was frustrating. I record my own vocals, and it's just incredibly frustrating process because I'm not a very good singer. But to do that and have the emotion right was really tough.”","short":"“It was very much trying to sound as bright and as powerful as possible.”"},"isCompilation":false}},{"id":"1525646788","type":"albums","href":"/v1/catalog/us/albums/1525646788?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/ab/95/00/ab95001d-ac05-37e1-9428-0693ff05bb97/TOMORROWLAND_ARTIST-COVER_Dimitri-Vegas-_-Like-Mike.png/{w}x{h}bb.jpeg","bgColor":"000008","textColor1":"97daf0","textColor2":"65ceef","textColor3":"79aec1","textColor4":"50a5c0"},"artistName":"Dimitri Vegas & Like Mike","isSingle":false,"url":"https://music.apple.com/us/album/dimitri-vegas-like-mike-at-tomorrowlands-digital-festival/1525646788","isComplete":false,"genreNames":["Dance","Music"],"trackCount":27,"isMasteredForItunes":false,"releaseDate":"2020-08-05","name":"Dimitri Vegas & Like Mike at Tomorrowland’s Digital Festival, July 2020 (DJ Mix)","playParams":{"id":"1525646788","kind":"album"},"editorialNotes":{"short":"Dizzying hardstyle meets high-octane EDM from the Belgian DJ duo."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1511819390","type":"albums","href":"/v1/catalog/us/albums/1511819390?l=en-US","attributes":{"artwork":{"width":3600,"height":3600,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music113/v4/95/45/71/95457199-55a8-26fe-df64-f0c7b70eb2be/849320058106.png/{w}x{h}bb.jpeg","bgColor":"1f1f21","textColor1":"fae5d4","textColor2":"cdae91","textColor3":"cebdb0","textColor4":"aa927a"},"artistName":"Cory Marks","isSingle":false,"url":"https://music.apple.com/us/album/who-i-am/1511819390","isComplete":true,"genreNames":["Outlaw Country","Music","Country"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2020-08-07","name":"Who I Am","recordLabel":"Better Noise Music","copyright":"℗ 2020 Better Noise Music","playParams":{"id":"1511819390","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1526360213","type":"albums","href":"/v1/catalog/us/albums/1526360213?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music124/v4/15/7d/fc/157dfce1-2080-e0bb-27e2-e0abbaae8b88/TOMORROWLAND_ARTIST-COVER_Paul-Kalkbrenner.png/{w}x{h}bb.jpeg","bgColor":"000008","textColor1":"97daf0","textColor2":"65ceef","textColor3":"79aec1","textColor4":"50a5c0"},"artistName":"Paul Kalkbrenner","isSingle":false,"url":"https://music.apple.com/us/album/paul-kalkbrenner-at-tomorrowlands-digital-festival/1526360213","isComplete":false,"genreNames":["Techno","Music","Dance","House"],"trackCount":9,"isMasteredForItunes":false,"releaseDate":"2020-08-05","name":"Paul Kalkbrenner at Tomorrowland's Digital Festival, July 2020 (DJ Mix)","playParams":{"id":"1526360213","kind":"album"},"editorialNotes":{"standard":"Atmospheric techno from the Tomorrowland fixture’s own crates.","short":"Atmospheric techno from the Tomorrowland fixture’s own crates."},"isCompilation":false}},{"id":"1514464141","type":"albums","href":"/v1/catalog/us/albums/1514464141?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music113/v4/e0/e9/be/e0e9be72-639b-5d47-f9e3-b5c2d2e8ec9a/5054526405257_1.jpg/{w}x{h}bb.jpeg","bgColor":"03091f","textColor1":"eccbba","textColor2":"efbc9f","textColor3":"bda49b","textColor4":"bf9886"},"artistName":"Loyal Lobos","isSingle":false,"url":"https://music.apple.com/us/album/everlasting/1514464141","isComplete":true,"genreNames":["Alternative","Music","Pop"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2020-08-07","name":"Everlasting","recordLabel":"Loyal Lobos","copyright":"℗ 2020 Loyal Lobos","playParams":{"id":"1514464141","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1525473215","type":"albums","href":"/v1/catalog/us/albums/1525473215?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features124/v4/c8/2c/03/c82c0313-024c-5af8-71bf-f4987df9082d/mza_15424728842530251753.png/{w}x{h}bb.jpeg","bgColor":"000008","textColor1":"97daf0","textColor2":"65ceef","textColor3":"79aec1","textColor4":"50a5c0"},"artistName":"Charlotte de Witte","isSingle":false,"url":"https://music.apple.com/us/album/charlotte-witte-at-tomorrowlands-digital-festival-july/1525473215","isComplete":false,"genreNames":["Techno","Music","Dance"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2020-08-05","name":"Charlotte de Witte at Tomorrowland's Digital Festival, July 2020 (DJ Mix)","playParams":{"id":"1525473215","kind":"album"},"editorialNotes":{"standard":"Get deep in the festival vibes with a modern techno giant.","short":"Get deep in the festival vibes with a modern techno giant."},"isCompilation":false}},{"id":"1510033805","type":"albums","href":"/v1/catalog/us/albums/1510033805?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music123/v4/1b/69/9c/1b699c0e-bd5f-6700-ffb2-ccf2f263e98f/634164214524.png/{w}x{h}bb.jpeg","bgColor":"1d1e2c","textColor1":"feb3de","textColor2":"fd82b6","textColor3":"d195ba","textColor4":"d06e9a"},"artistName":"Avatar","isSingle":false,"url":"https://music.apple.com/us/album/hunter-gatherer/1510033805","isComplete":true,"genreNames":["Rock","Music"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2020-08-07","name":"Hunter Gatherer","recordLabel":"eOne Music","copyright":"℗ 2020 Entertainment One U.S., LP","playParams":{"id":"1510033805","kind":"album"},"editorialNotes":{"standard":"“Honesty keeps getting refined with each album,” Avatar vocalist Johannes Eckerström tells Apple Music. “Each one peels away another layer of bullshit from us.” It’s that incremental truth-seeking that propels the Swedish metal band’s eighth full-length, Hunter Gatherer. While album cuts like “A Secret Door” and “Wormhole” feature contributions from Slipknot vocalist Corey Taylor, lead singles “Colossus” and “Silence in the Age of Apes” stand as propulsive anthems concerning humanity’s struggles with the relentless march of technology. “For the most part of our existence as a species, we lived as hunter-gatherers,” Eckerström observes. “That seems to have been what we were hardwired to be by nature. But as we have evolved, we have slowly made our civilization more and more complex. We’ve created a way of life that is completely detached from where we came from. This album very much tries to deal with what it means to be human right here and now, with all our shortcomings and all the damage that we do.” Below, Eckerström takes us through the keenly observed dystopia of Hunter Gatherer.
\nSilence in the Age of Apes\n“It’s definitely one of the songs that is thematically closest to the title of the album. We can't go climb trees and call ourselves monkeys and think things will be fine again. There's only forward. The future is coming and things are speeding up. Our imminent destruction is accelerating. We now have to start outrunning the clock to reach a better future before everything collapses. That sense of urgency and that need to accelerate and trying to outrun destruction—lots of the emotion of the song comes from there.”
\nColossus\n“I read about this project where some scientist wants to recreate a fully functioning human brain inside of a computer—like a simulation. That's fascinating. Then I start to think that if we are to succeed with that, if something behaves exactly like a human brain, well, it must be a human. We must have created life as we know it, as we perceive it within ourselves. There's a sense of existential dread that came with that realization. We’ve named the song after the Colossus of Rhodes, one of the Seven World Wonders. This would be our world wonder—this Frankenstein's monster Colossus that we tell to arise. It's one of those scary things in the murky waters of ethically questionable science.”
\nA Secret Door\n“This song has a whistling melody that was inspired in part by Ennio Morricone and in part by a Swedish guy called Björn Olsson, who is basically an indie-pop fellow that has done a lot of light, pleasant summery tunes with whistling on them. And we got Corey Taylor from Slipknot to do the whistling. Thematically, it’s about all hope being lost. It does move more in the plane of relationships, when things might look really dark but you try until the bitter end and see something crash and burn completely instead of giving up along the way. Or like going out to the front line of battle knowing you’re going to die there. But you’ve chosen your hill to die on, which would be the secret door that you keep hoping for, the way out of the situation.”
\nGod of Sick Dreams\n“I had a string of very vivid apocalyptic nightmares for a while. In the dream, I'm in an apartment and I look through the window at a city, and purple lightning starts to strike the ground and these weird glowing spheres are coming up, and there’s the sound of an explosion and poof—everything that was within the sphere is just gone, like the world is going away bit by bit. I’m there with my niece and I pick her up in my arms to run away, thinking I have to find someplace safe. I run downstairs in the apartment building but there’s no place to go—and then I wake up. More than anything, I think it’s a song about facing yourself, because ultimately, those images were created by me. I am the god of my own sick dreams.”
\nScream Until You Wake\n“This one deals with a sense of being lost. In the verses I'm spitting out all kinds of questions and being desperate. So I guess it's about that feeling of being completely lost in your life, in the grand scheme of things but also in this smaller perspective, and desperately looking for a way out and begging for help. Again, it goes into the realm of nightmares, and then hoping that the cure will be that if you scream loud enough maybe you'll wake up.”
\nChild\n“This is a bit more out of left field for a metal song, but the story that came into my head when I heard the instrumental for the chorus was about an affluent family in the late 1800s or early 1900s, a time when a woman speaking up or being upset or being depressed—being anything except obedient—would be deemed hysterical. And the treatment for this at the time would have been lobotomy. So it’s a story about the slow destruction and suffocation of this woman. Her child is the witness to all of this and deals with it in the way that children deal with and process life—through play. The child understands that what is happening to the mother is deeply wrong, but its pain is never acknowledged, its questions are never answered.”
\nJustice\n“‘Justice’ deals with certain thoughts and feelings you have when you end up doing this kind of angry and aggressive album as an adult. Having lived from teens to young adulthood into what I guess would be considered adulthood, somewhere along the way there have been attempts to maybe want to fit in, to face the world with good intentions. But you feel it backfire and now you’re spitting at conformity again, finding your own voice and acknowledging there’s no need to conform. There’s nothing to be gained by trying to fit in, and there is no reason to be quiet about the ugliness, because that is not how change will come to the ugly side of things.”
\nGun\n“This song took seven years to write. Most of it existed seven years ago—the main piano part and the four lines of lyrics starting with ‘You give a boy a gun.’ But finishing it was a big challenge, because through various attempts you suddenly would hear drums coming in and an electric guitar and it would turn into a power ballad, like, ‘Oh, it’s Bon Jovi now. Let’s throw it away again.’ So it took us seven years to understand something that you learn over and over again when working on music: Just let it be what it is. So it’s a vulnerable song about vulnerability, and as such it was the hardest song to sing on the album, because there’s the musical challenge of wanting things to sound nice and then there is the conveying of the emotion that sadness is. And we are ugly when we cry.”
\nWhen All But Force Has Failed\n“This is the biggest case of finger-pointing that I've done in lyrics ever, probably. If I’m going to express anger over certain things wrong in the world—if I'm going to put that out there—then I have to be willing to hold myself accountable as well, and us accountable as a band. Because if you want change in the world, you have to deal with the ways you participate in the things that are right and the things that are wrong. So hence the two initial lines are ‘Bird carcass with a belly full of plastic, one more year and I'll be a millionaire.’ It’s about how we participate in the destruction while at the same time allowing ourselves to be pissed off at people who participate even more. But you have to hold yourself accountable.”
\nWormhole\n“When I first heard the riff for this, I thought, ‘Oh wow, this is exactly what I feel like if I wake up in the middle of the night and have to go puke.’ So this song called for a certain type of release, but not too pretty. Lyrically, it is about facing the truth and how we hope to not do it alone. We were not quite finished with the song when we entered the studio, so we sent it to Corey Taylor—a metal icon and one of the great voices of our generation—who offered to lay down a track or two. He came up with the pre-chorus melody, which helped us flesh out the song.”","short":"“This album tries to deal with what it means to be human here and now.”"},"isCompilation":false}},{"id":"1516086587","type":"albums","href":"/v1/catalog/us/albums/1516086587?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/c4/a8/0f/c4a80fb3-8942-be43-32c8-fecbb53fb6c4/dj.othuuykt.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"2a1e1f","textColor2":"32292b","textColor3":"544b4c","textColor4":"5b5455"},"artistName":"Cassadee Pope","isSingle":false,"url":"https://music.apple.com/us/album/rise-and-shine/1516086587","isComplete":true,"genreNames":["Country","Music"],"trackCount":8,"isMasteredForItunes":false,"releaseDate":"2020-08-07","name":"Rise and Shine","recordLabel":"Awake Music, LLC","copyright":"℗ 2020 Awake Music LLC","playParams":{"id":"1516086587","kind":"album"},"editorialNotes":{"standard":"“The demos of these songs actually are more produced than the end product,” Cassadee Pope tells Apple Music of the process that yielded her new acoustic set Rise and Shine. “The way it came about was really because of the pandemic. I wanted to do something that I could give to my fans, that could fulfill something in my heart musically that I probably won't get this year, not touring and playing shows, and I also wanted to do something that was safe to execute. I knew doing an acoustic record, I could do that remotely and not put anybody in danger, including myself.” The Florida-bred country-pop singer and songwriter, who found her first success fronting the pop-punk outfit Hey Monday, mostly worked with her co-producer Todd Lombardo remotely. Pope wasn’t interested in a subdued, stripped-down approach to conveying intimacy—she was thinking more along the lines of the emphatic, rhythmic strumming of the emo singer-songwriters of her youth. “When I was doing preproduction with Todd, I told him, ‘I really want this record to sound like an acoustic Dashboard Confessional—like a country Dashboard record,’” she says. “I told him I really want the guitars to have a lot of open tuning, and I want there to be two guitars most of the time, where one is more rhythmic and one is more lead.” Here Pope talks through each of the songs on the record.
\nLet Me Go\n“It's a song that's really about frustration and about how you can come to crossroads with someone that really doesn't understand you, really doesn't agree with what you want. It doesn't coincide with what they want or even coincide with how they picture you. It's talking about waiting for the other person to decide to let you go because you can't let go of the hope that maybe things are going to change. And I'm a believer that if you want out and you're not happy, just get out. Don't wait for the other person to decide.”
\nHoodie\n“It's a song about taking a trip down memory lane. The boys that I've dated through the years have all been those emo boys with hoodies. I distinctly remember finding somebody's hoodie and being really excited that I had a reason to reach out to them. It's funny because we're never discreet. We always think we are, but they know that it's just a dumb excuse to get in touch. And whether you're the receiver of that text or call or you're the sender, you know what's going on. I was really excited to get this song sounding the way it does, because it's not that deep, and I wanted the music to replicate the levity of it and also the emo, pop-rock aspect of the time of my life that the song is talking about.”
\nCalifornia Dreaming\n“It's been one of my favorites for a while, and my mom loves that song. I know it's probably the most country song on the record, so I really wanted to lean into that, but not too far to where it didn't work with the other songs. I was thinking about what would take the song up a notch. I definitely thought my boyfriend Sam Palladio's beautiful blendy harmony voice would be perfect on it. The song's about someone from my past that really hurt me and broke my heart, and I'm having the man that's making me happy and that I'm in love with singing harmony on it. He does this harmony at the very end of the song that just gave me chills all over when he sang it. And that's probably one of my favorite moments of the record, is when he goes into his falsetto voice and it just ends the song in a really sad, tensioned way.”
\nCounting on the Weather\n“That song, really, for me, is the coziest on the record. I wanted to make people feel like they're wrapped in a blanket on a couch in front of a fire. The simple things in life are sometimes just the most beautiful, and that's what the song talks about, just using an excuse like the weather to be with the person you love and just be together. It's definitely the love song of the record. In this time that we're in, where we can't really go many places without feeling a little unsafe, I thought this was timely as well, just to try and find those moments of simplicity that we can lean into and enjoy being home together.”
\nHangover\n“This is actually a Hey Monday song. It was on our last EP called Beneath It All. I wrote it with Butch Walker. This is by far the oldest song on the record. When I was thinking about doing this record with the intention of alluding to what I'm going to do full-band-wise later on, which is more pop-rock, I thought, ‘Well, what better way to do that than to put my old band song on here?’ I chose ‘Hangover’ because I always felt like it could be a country song, and it just held up over the years.”
\nRise and Shine\n“A message that I really wanted to focus on for this record is mental health. Everybody is dealing with everything going on in the world differently. I'm very open and vocal about feelings and mental health, and I've been in therapy for probably three years now and just done a lot of inner work. I want people to feel safe going into a place of feeling whatever emotions they have inside, and I hope that ‘Rise and Shine’ is one of those songs that helps them get into that place of letting it out.”
\nSand Paper\n“I remember really wanting to come up with a word that meant changing the shape or smoothing out people's rough edges or whatever. I was having such a hard time. Nothing sounds good in a song that you try and use in that regard. I mean, you could use, like, a hammer or you could use a chainsaw or whatever. Then I came across sandpaper and it just felt so perfect. At that point, I just felt really like I wasn't able to show my true colors and embrace the rough edges that I had naturally from my rock background. So I felt like sandpaper was the perfect usage to explain that.”
\nBuilt This House\n“In 2017, I just leveled my life, between personal and professional. I eliminated the people in my life that I felt weren't working in my best interests, and also just got out of a relationship that I just wasn't happy in and I didn't feel like myself. That's what the song talks about, about getting rid of the old one and building a new foundation. When I wrote the song, my boyfriend and I bought a house together. And this house really feels like me and it feels way more comfortable than I've ever felt in any other place. It just made me realize this physical house means a lot to me, but I have built a house in my heart and in my soul through that whole experience a few years ago. No matter what tries to shake me or what comes my way and what tries to level this house that I've built now, I have such a solid foundation that I've been able to tackle obstacles that I wouldn't have had the strength to do before.”","short":"“The demos of these songs are more produced than the end product.”"},"isCompilation":false}},{"id":"1524779682","type":"albums","href":"/v1/catalog/us/albums/1524779682?l=en-US","attributes":{"artwork":{"width":1425,"height":1425,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music124/v4/63/c5/04/63c50476-d4a4-e466-f8d2-6caa00ad077b/075679807168.jpg/{w}x{h}bb.jpeg","bgColor":"caecf8","textColor1":"060507","textColor2":"442e1f","textColor3":"2d3337","textColor4":"5f544a"},"artistName":"Abir","isSingle":false,"url":"https://music.apple.com/us/album/heat/1524779682","isComplete":true,"genreNames":["Pop","Music"],"trackCount":7,"isMasteredForItunes":true,"releaseDate":"2020-08-07","name":"HEAT","recordLabel":"Fez's Finest, LLC","copyright":"℗ 2020 Atlantic Recording Corporation. A Warner Music Group Company.","playParams":{"id":"1524779682","kind":"album"},"isCompilation":false}},{"id":"1522144814","type":"albums","href":"/v1/catalog/us/albums/1522144814?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music124/v4/30/f1/95/30f195b4-e227-ae3e-1996-3ef5ce59786c/cover.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"1a1618","textColor2":"322c28","textColor3":"474446","textColor4":"5b5653"},"artistName":"Various Artists","isSingle":false,"url":"https://music.apple.com/us/album/paul-institute-summer-2020-ep/1522144814","isComplete":true,"genreNames":["Electronic","Music"],"trackCount":6,"isMasteredForItunes":false,"releaseDate":"2020-08-04","name":"Paul Institute - Summer 2020 - EP","recordLabel":"Paul Institute","copyright":"℗ 2020 Paul Institute","playParams":{"id":"1522144814","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1523900584","type":"albums","href":"/v1/catalog/us/albums/1523900584?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music114/v4/91/84/18/91841858-7c63-50ff-d324-58988b95de4a/0801061031534.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"fcfefd","textColor2":"e1a28f","textColor3":"c9cbca","textColor4":"b48172"},"artistName":"Hudson Mohawke","isSingle":false,"url":"https://music.apple.com/us/album/b-b-h-e/1523900584","isComplete":true,"genreNames":["Electronic","Music","Dance"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"2020-08-04","name":"B.B.H.E.","recordLabel":"Warp Records","copyright":"℗ 2020 Warp Records","playParams":{"id":"1523900584","kind":"album"},"editorialNotes":{"standard":"Hudson Mohawke’s 2015 album Lantern caught him at the peak of his powers: Both solo and in the duo TNGHT, the Scottish producer’s maximalist trap-rave had reconfigured the pop landscape and landed him on records from Drake, Lil Wayne, Pusha T, and Kanye. Then, after 2016's DedSec - Watch Dogs 2 soundtrack, he went quiet. But his hiatus had one benefit: It gave him time to go through old hard drives. Assembled during the 2020 pandemic, B.B.H.E. (Big Booty Hiking Expedition) gathers the fruits of that harvest.
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Our editors regularly update this playlist, so if you hear something you like, add it to your library and keep the party going.","short":"Hip-hop and R&B for balmy nights."}}},{"id":"pl.0c6172a2e5634044bb82b0032f2fae25","type":"playlists","href":"/v1/catalog/us/playlists/pl.0c6172a2e5634044bb82b0032f2fae25?l=en-US","attributes":{"isChart":false,"curatorName":"Carnegie Hall","url":"https://music.apple.com/us/playlist/classical-live-carnegie-hall/pl.0c6172a2e5634044bb82b0032f2fae25","name":"Classical Live @ Carnegie Hall","playlistType":"external","playParams":{"id":"pl.0c6172a2e5634044bb82b0032f2fae25","kind":"playlist"},"lastModifiedDate":"2020-07-29T20:30:15Z","artwork":{"width":2400,"height":2400,"url":"https://is2-ssl.mzstatic.com/image/thumb/SG-MQ-US-001-Image000001/v4/c7/f4/20/c7f420b0-7774-53ae-05f9-dc4076626d77/image/{w}x{h}cc.jpeg"}}},{"id":"pl.7f9269da96b64de79b4178fb577ea49d","type":"playlists","href":"/v1/catalog/us/playlists/pl.7f9269da96b64de79b4178fb577ea49d?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features113/v4/04/76/46/04764611-3e44-7b19-ec1b-517cffc06c9b/source/{w}x{h}cc.jpeg","bgColor":"170031","textColor1":"ebd498","textColor2":"d5a657","textColor3":"c1a983","textColor4":"af8550"},"isChart":false,"url":"https://music.apple.com/us/playlist/gospel-flow/pl.7f9269da96b64de79b4178fb577ea49d","lastModifiedDate":"2020-08-07T16:14:09Z","name":"Gospel Flow","playlistType":"editorial","curatorName":"Apple Music Christian & Gospel","playParams":{"id":"pl.7f9269da96b64de79b4178fb577ea49d","kind":"playlist"},"description":{"standard":"Gospel music has a way of putting you in touch with the untouchable, making you grateful for the ungraspable. Uplifting and inspirational, here’s a playlist of the best new gospel around: The sound of Sunday, any day you like. Our editors update selections regularly, so if you hear something you like, add it to your library.","short":"Get lifted with tracks from Tamela Mann and Koryn Hawthorne."}}},{"id":"pl.5ee8333dbe944d9f9151e97d92d1ead9","type":"playlists","href":"/v1/catalog/us/playlists/pl.5ee8333dbe944d9f9151e97d92d1ead9?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features114/v4/db/06/52/db0652c4-621f-3ea5-457e-58f5f8e5fb9c/source/{w}x{h}cc.jpeg","bgColor":"043bc0","textColor1":"000000","textColor2":"fec9ea","textColor3":"b4b6da","textColor4":"c0abe1"},"isChart":false,"url":"https://music.apple.com/us/playlist/a-list-pop/pl.5ee8333dbe944d9f9151e97d92d1ead9","lastModifiedDate":"2020-08-07T19:43:06Z","name":"A-List Pop","playlistType":"editorial","curatorName":"Apple Music Pop","playParams":{"id":"pl.5ee8333dbe944d9f9151e97d92d1ead9","kind":"playlist"},"description":{"standard":"On “cardigan”—a folklore highlight that’s also the lead track on A-List Pop this week—Taylor Swift tells a story of young love: lost but not easily forgotten. “’Cause I knew you/Steppin’ on the last train/Marked me like a bloodstain,” she sings, her voice stretching out over strings and mellotron. “I knew you/Tried to change the ending/Peter losing Wendy.” Add A-List Pop to your library to stay up on the latest and greatest pop music.","short":"Taylor Swift conjures young love with “cardigan.”"}}},{"id":"pl.0b593f1142b84a50a2c1e7088b3fb683","type":"playlists","href":"/v1/catalog/us/playlists/pl.0b593f1142b84a50a2c1e7088b3fb683?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features114/v4/20/2a/6a/202a6aa4-aa60-3fd1-8b3e-5229e993dd2c/source/{w}x{h}cc.jpeg","bgColor":"cdae8c","textColor1":"000000","textColor2":"151c27","textColor3":"2c3036","textColor4":"313438"},"isChart":false,"url":"https://music.apple.com/us/playlist/alt-ctrl/pl.0b593f1142b84a50a2c1e7088b3fb683","lastModifiedDate":"2020-08-07T04:00:38Z","name":"ALT CTRL","playlistType":"editorial","curatorName":"Apple Music Alternative","playParams":{"id":"pl.0b593f1142b84a50a2c1e7088b3fb683","kind":"playlist"},"description":{"standard":"“WHAT YOU GONNA DO???” marks the beginning of a new chapter for Bastille. “It’s about completely tearing up our process, being spontaneous and starting again,” frontman Dan Smith tells Apple Music. “This next phase feels like a new beginning.” The first single from the London rock outfit’s yet-to-be-announced new album, it’s a brief but urgent take on the perils of the attention economy—and it also features guitar work from Blur’s Graham Coxon. “I think we’re making some of the best music we’ve ever made,” Smith says. “We want to put it out now and not wait for the whole album to be done before anyone starts to hear it. This is about where we are now and hearing us in real time.” ALT CTRL is Apple Music’s home for left-of-center rock songs and is updated all the time. So check back often, and if you hear something you like, add it to your library.","short":"Bastille returns with “WHAT YOU GONNA DO???”"}}},{"id":"pl.6bf4415b83ce4f3789614ac4c3675740","type":"playlists","href":"/v1/catalog/us/playlists/pl.6bf4415b83ce4f3789614ac4c3675740?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features114/v4/ce/aa/6f/ceaa6fba-be28-7c71-cf69-94cc9811c759/source/{w}x{h}cc.jpeg","bgColor":"ededed","textColor1":"000000","textColor2":"310f4f","textColor3":"482667","textColor4":"50336b"},"isChart":false,"url":"https://music.apple.com/us/playlist/dancexl/pl.6bf4415b83ce4f3789614ac4c3675740","lastModifiedDate":"2020-08-07T04:00:23Z","name":"danceXL","playlistType":"editorial","curatorName":"Apple Music Dance","playParams":{"id":"pl.6bf4415b83ce4f3789614ac4c3675740","kind":"playlist"},"description":{"standard":"“‘Impact’ is possibly my favorite record I’ve ever been a part of,” says SG Lewis, the British singer-songwriter and producer known for feel-good collaborations with pop artists like Clairo, LANY, and AlunaGeorge. “Channel is an artist I believe will go on to create a musical legacy as important as the one Robyn has already created, and to have the two of them on this record together is insane.” The track, which leads this week’s danceXL, was co-produced with Totally Enormous Extinct Dinosaurs, or TEED, whom Lewis calls one of his heroes. “I hope it provides some release and euphoria in a time when both are hard to come by,” he says. 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Fortunately, heavy music's new class keeps plenty of huge riffs and rage-worthy choruses coming every week—and we've collected the best and most brutal of 'em here. Our editors regularly update this playlist. If you hear a track you like, add it to your library.","short":"Raise the volume with new GOJIRA, Mastodon, Metallica, and Sumac."}}},{"id":"pl.c6450d9d225b419e8b712d0c32307af9","type":"playlists","href":"/v1/catalog/us/playlists/pl.c6450d9d225b419e8b712d0c32307af9?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features113/v4/5a/fb/f8/5afbf8af-faf2-d48f-4e37-e2af3417244a/source/{w}x{h}cc.jpeg","bgColor":"e2e2e2","textColor1":"0d0a00","textColor2":"0d0a01","textColor3":"38352d","textColor4":"38352e"},"isChart":false,"url":"https://music.apple.com/us/playlist/the-score/pl.c6450d9d225b419e8b712d0c32307af9","lastModifiedDate":"2020-08-01T00:02:54Z","name":"The Score","playlistType":"editorial","curatorName":"Apple Music Film, TV & Stage","playParams":{"id":"pl.c6450d9d225b419e8b712d0c32307af9","kind":"playlist"},"description":{"standard":"The film composer Hans Zimmer once said that he didn’t write music to tell you what to feel, only that it was time to feel. And as the culture continues to move away from the dominance of the orchestra, scores—for movies, television, and streaming alike—are covering more emotional and stylistic ground than ever, absorbing elements of electronic and pop music in ways that further enrich the interplay between image and sound. With that in mind, here’s a rolling playlist focusing on the best music being written for screens big and small, with a few old favorites thrown in to anchor it. 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If you find a new favorite to crank, add it to your library.","short":"Corey Taylor returns with his new single “CMFT Must Be Stopped.”"}}},{"id":"pl.fecfa8a26ea44ad581d4fe501892c8ff","type":"playlists","href":"/v1/catalog/us/playlists/pl.fecfa8a26ea44ad581d4fe501892c8ff?l=en-US","attributes":{"artwork":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features113/v4/e9/61/79/e9617945-a962-c232-1017-3fe801ffafa4/source/{w}x{h}cc.jpeg","bgColor":"94bde4","textColor1":"130605","textColor2":"161616","textColor3":"2d2b32","textColor4":"2f383f"},"isChart":false,"url":"https://music.apple.com/us/playlist/todays-christian/pl.fecfa8a26ea44ad581d4fe501892c8ff","lastModifiedDate":"2020-08-07T04:00:39Z","name":"Today’s Christian","playlistType":"editorial","curatorName":"Apple Music Christian & Gospel","playParams":{"id":"pl.fecfa8a26ea44ad581d4fe501892c8ff","kind":"playlist"},"description":{"standard":"A great song can lift you up or get you over the hump; it can be a mirror when you’re feeling strong and a rock of support when you’re feeling weak. In other words, certain types of pop music can speak to the heart in ways that make you feel grateful just to be alive. From soaring ballads to surging dance anthems with touches of electronic and indie rock, here are the biggest tracks inspiring us today: the sound of good news. Our editors update these tracks regularly. If you hear something you like, add it to your library.","short":"Hear Elevation Worship's latest version of “Graves Into Gardens.”"}}}]},"room":{"data":[{"id":"1457265757","type":"rooms","href":"/v1/editorial/us/rooms/1457265757?l=en-US"}]}}},{"id":"1457265761","type":"editorial-elements","attributes":{"featureFirstElement":false,"type":"normal","supportedSorts":[],"emphasize":false,"displayStyle":"compact","editorialElementKind":"326","doNotFilter":false,"name":"We're Loving"},"relationships":{"contents":{"data":[{"id":"1524801260","type":"albums","href":"/v1/catalog/us/albums/1524801260?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music114/v4/40/53/c4/4053c471-ea65-d950-3a0b-4f8ca7c62070/20UMGIM64216.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"c6c6c6","textColor1":"000000","textColor2":"070707","textColor3":"272727","textColor4":"2d2d2d"},"artistName":"Taylor Swift","isSingle":false,"url":"https://music.apple.com/us/album/folklore/1524801260","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":16,"isMasteredForItunes":true,"releaseDate":"2020-07-24","name":"folklore","recordLabel":"Taylor Swift","copyright":"℗ 2020 Taylor Swift","playParams":{"id":"1524801260","kind":"album"},"editorialNotes":{"standard":"A mere 11 months passed between the release of Lover and its surprise follow-up, but it feels like a lifetime. Written and recorded remotely during the first few months of the global pandemic, folklore finds the 30-year-old singer-songwriter teaming up with The National’s Aaron Dessner and longtime collaborator Jack Antonoff for a set of ruminative and relatively lo-fi bedroom pop that’s worlds away from its predecessor. When Swift opens “the 1”—a sly hybrid of plaintive piano and her naturally bouncy delivery—with “I’m doing good, I’m on some new shit,” you’d be forgiven for thinking it was another update from quarantine, or a comment on her broadening sensibilities. But Swift’s channeled her considerable energies into writing songs here that double as short stories and character studies, from Proustian flashbacks (“cardigan,” which bears shades of Lana Del Rey) to outcast widows (“the last great american dynasty”) and doomed relationships (“exile,” a heavy-hearted duet with Bon Iver’s Justin Vernon). It’s a work of great texture and imagination. “Your braids like a pattern/Love you to the moon and to Saturn,” she sings on “seven,” the tale of two friends plotting an escape. “Passed down like folk songs, the love lasts so long.” For a songwriter who has mined such rich detail from a life lived largely in public, it only makes sense that she’d eventually find inspiration in isolation.","short":"Taylor makes the most of quarantine with 16 new songs that fit the mood."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1525254127","type":"albums","href":"/v1/catalog/us/albums/1525254127?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music114/v4/cf/53/19/cf5319c3-60a6-3020-cbec-c75a4eda1281/093624890195.jpg/{w}x{h}bb.jpeg","bgColor":"cdcb9a","textColor1":"0d0613","textColor2":"2e1f16","textColor3":"332e2e","textColor4":"4e4130"},"artistName":"NLE Choppa","isSingle":false,"url":"https://music.apple.com/us/album/top-shotta/1525254127","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":20,"isMasteredForItunes":false,"releaseDate":"2020-08-07","name":"Top Shotta","recordLabel":"Warner Records","copyright":"℗ 2020 NLE Choppa Entertainment Inc., under exclusive license to Warner Records Inc.","playParams":{"id":"1525254127","kind":"album"},"editorialNotes":{"standard":"NLE’s Top Shotta album contains the third, fourth, and fifth iterations of his popular “Shotta Flow” song series, but if you let him tell it, these are the last of them. “I don't plan on making no more after the fifth one,” the Memphis-born MC tells Apple Music. “I'm really trying to get away from them, 'cause there's way more to my music than that shit.” Doing his absolute best to prove this claim, he delivers Top Shotta at a strapping 20 songs. Outside of the “Shotta Flow” selections, where Choppa unfurls inspired non sequitur over charging low-end-driven production, there aren’t too many outright bar exhibitions, the MC instead choosing to focus on diversifying his catalog. Over production from hitmakers like CashMoneyAp, TNT, and Quay Global, Choppa aims to give fans what they’ve been missing in the eight months since 2019’s Cottonwood project, and then some.
\n“I was recording different types of songs on different types of beats every night,” he says of the months leading up to Top Shotta's release. “I might make some shit about murder one night, come back in the studio and make a song about how I feel or who done did me wrong or how I feel left out—I might make some pain shit and then make some love shit. But it will be a rotation to where you never have the same type of song. It's like flavors of Starbursts or some shit. You got yellow, red, orange... You don't want to just open up a pack full of yellows or your ass gon' be mad.” Below, NLE Choppa breaks down a few of the flavors he’s included in Top Shotta.
\nDaydream\n“It’s not daydreaming anymore, it's more manifesting [for me] now, claiming what's already yours. It’s like something you already got, you just got to work towards it and get it. So I really call daydreaming 'manifesting' now.”
\nGamble With My Heart\n“I was in my feelings, and that's pretty much just me letting it out on a beat. I freestyle all my music, so whatever comes out comes straight from right when I'm there, all in the moment. 'Gamble With My Heart' is one of my favorites ’cause it just feels like I slowed down the perspective and I address a lot of stuff in it.”
\nWho TF Up in My Trap\n“When I came across it, the beat didn't even sound as good as it sounds now. It's a sample that was turned down at first, but when we got to mix it, we turned the volume up and it brought out the whole song. The song was good, but we could tell it was missing certain things. I knew the mix was going to be the most important part about everything. And that is one of the best mixes. That one surprised the shit out of me.”
\nMake Em Say (feat. Mulatto)\n“Somebody from the label played [Mulatto’s] verse for me. And I was just like, man, I fuck with it. They was telling me, ‘Man, you got to come different, you know this ain’t what you always recording on.’ And so the whole time, I was just focused on tryna make one of those ratchet bangers for the summer—in case things would've gotten back to normal by then. It ain't get back to normal, but it still had to go on my album because it can still slide to the end of the summer.”
\nWalk Em Down (feat. Roddy Ricch)\n“I ain't gon' lie, Roddy Ricch’s Feed Tha Streets II album, the one that blew him up blew him up, I related to that whole album before I blew up. He had hits on that bitch. I was like one of the first n***as in my city that was bumping him. For 'Walk Em Down,' I just DM'd him and he pulled up to the studio the same night.”
\nShotta Flow 4 (feat. Chief Keef)\n“All of [Chief Keef’s] drill songs I used to fuck with: ‘Love Sosa,’ ‘I Don't Like’—I used to fuck with all them bitches. I felt like I had to do a song with Keef ’cause he was a part of my childhood. I know once people hear that, they're going to love that one, because they've been waiting on Chief to get back on that drill type of music.”
\nParanoid\n“I walked in the studio and I said, ‘I just want to make something out of my element.’ I also wanted to make it so it could be suitable towards women. I fuck with that song because it shows a lot of versatility and I know like a few months ago I wouldn't have been able to go get on that beat. I don’t think that I would’ve had it in me. So I feel like I really been growing.”","short":"“I feel like I really been growing.”"},"isCompilation":false,"contentRating":"explicit"}},{"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":"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":"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":"1510024907","type":"albums","href":"/v1/catalog/us/albums/1510024907?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music123/v4/62/c4/a5/62c4a565-3759-b97a-bdc7-25c1f7ce335e/720841218203.jpg/{w}x{h}bb.jpeg","bgColor":"00579e","textColor1":"e6f1f3","textColor2":"bbd9ec","textColor3":"b8d2e2","textColor4":"95bfdc"},"artistName":"Fontaines D.C.","isSingle":false,"url":"https://music.apple.com/us/album/a-heros-death/1510024907","isComplete":true,"genreNames":["Alternative","Music","Indie Rock"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2020-07-31","name":"A Hero's Death","recordLabel":"PTKF","copyright":"℗ 2020 Partisan Records","playParams":{"id":"1510024907","kind":"album"},"editorialNotes":{"standard":"Fontaines D.C. singer Grian Chatten was with bandmates Tom Coll and Conor Curley in a pub somewhere in the US when the words “Happy is living in a closed eye” came to him. It was possibly in Chicago, he thinks, and certainly during their 2019 tour. “We were playing pool and drinking some shit Guinness,” he tells Apple Music. “I was drinking an awful lot and there was a sense of running away on that tour—because we were so overworked. The gigs were really good and full of energy, but it almost felt like a synthetic, anxious energy. We were all burning the candle at both ends. I think my subconscious was trying to tell me when I wrote that line that I was not really facing reality properly. Ever since I've read Oscar Wilde, I've always been fascinated by questioning the validity of living soberly or healthily.”
\nThe line eventually made its way into “Sunny” a track from the band’s second album A Hero’s Death. Like much of the record, that unsteady waltz is an absorbing departure from the rock ’n’ roll punch of their Mercury-nominated debut, Dogrel. Released in April 2019, Dogrel quickly established the Irish five-piece as one of the most exciting guitar bands on their side of the Atlantic, throwing them into an exacting tour and promo schedule. When the physical and mental strains of life on the road bore down—on many nights, Chatten would have to visit dark memories to reengage with the thoughts and feelings behind some songs—the five-piece sought relief and refuge in other people’s music. “We found ourselves enjoying mostly gentler music that took us out of ourselves and calmed us down, took us away from the fast-paced lifestyle,” says Chatten. “I think we began to associate a particular sound and kind of music, one band in particular would have been The Beach Boys, that helped us feel safe and calm and took us away from the chaos.”
\nThat, says Chatten, helps account for the immersive and expansive sound of A Hero’s Death. With their world being refracted through the heat haze of interstate highways and the disconcerting fog of days without much sleep, there’s a dreaminess and longing in the music. It’s in the percussive roll of “Love Is the Main Thing” and the harmonies swirling around the title track’s rigorous riffs. It drifts through the uneasy reflection of “Sunny.” “‘Sunny’ is hard for me to sing,” says Chatten, “just because there are so many long fucking notes. And I have up until recently been smoking pretty hard. But I enjoy the character that I feel when I sing it. I really like the embittered persona and the gin-soaked atmosphere.”
\nWhile Dogrel’s lyrics carried poetic renderings of life in modern Dublin, A Hero’s Death burrows inward. “Dublin is still in the language that I use, the colloquialisms and the way that I express things,” says Chatten. “But I consider this to be much more a portrait of an inner landscape. More a commentary on a temporal reality. It's a lot more about the streets within my own mind.” Throughout, Chatten can be found examining a sense of self. He does it with bracing defiance on “I Don’t Belong” and “I Was Not Born,” and with aching resignation on “Oh Such a Spring”—a lament for people who go to work “just to die.” ”I worked a lot of jobs that gave me no satisfaction and forced me to shelve temporarily who I was,” says Chatten. “I felt very strongly about people I love being in the service industry and having to become somebody else and suppress their own feelings and their own views, their own politics, to make a living. How it feels after a shift like that, that there is blood on your hands almost. You’re perpetuating this lie, because it’s a survival mechanism for yourself.”
\nAmbitious and honest, A Hero’s Death is the sound of a band protecting their ideals when the demands of being rock’s next big thing begin to exert themselves. ”One of the things we agreed upon when we started the band was that we wouldn't write a song unless there was a purpose for its existence,” says Chatten. “There would be no cases of churning anything out. It got to a point, maybe four or five tunes into writing the album, where we realized that we were on the right track of making art that was necessary for us, as opposed to necessary for our careers. We realized that the heart, the core of the album is truthful.”","short":"“My subconscious was trying to tell me that I was not really facing reality.”"},"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":"1511008796","type":"albums","href":"/v1/catalog/us/albums/1511008796?l=en-US","attributes":{"artwork":{"width":6000,"height":6000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/7c/0c/26/7c0c26db-4495-878e-0344-2f06510d1d86/dj.lylnrmyr.png/{w}x{h}bb.jpeg","bgColor":"0d1f1c","textColor1":"ebdcb0","textColor2":"dbcaa7","textColor3":"bfb692","textColor4":"b2a88b"},"artistName":"Julianna Barwick","isSingle":false,"url":"https://music.apple.com/us/album/healing-is-a-miracle/1511008796","isComplete":true,"genreNames":["Electronic","Music","Ambient"],"trackCount":8,"isMasteredForItunes":false,"releaseDate":"2020-07-10","name":"Healing Is a Miracle","recordLabel":"Ninja Tune","copyright":"℗ 2020 Ninja Tune","playParams":{"id":"1511008796","kind":"album"},"editorialNotes":{"standard":"Having uprooted herself from her NYC home after 16 years, ambient composer Julianna Barwick relocated to Los Angeles in search of a fresh start and a new creative path for her first album in four years. She made some changes to her usual recording setup, working for the first time with a pair of studio monitors gifted by Sigur Rós frontman Jónsi to work alongside her vocal looping technique. On “Oh, Memory,” she offsets strikingly beautiful soundscapes and the plucking strings of classical harpist Mary Lattimore. Barwick and Jónsi trade harmonies on “In Light,” letting their beatific vocals drift over pounding drum machines and sweeping synths. The guest features are new for Barwick, but her approach is just as minimal and never feels slight, applying a curative touch with her gentle, meditative songs that explore—as the title suggests—both emotional and physical healing."},"isCompilation":false}},{"id":"1521742168","type":"albums","href":"/v1/catalog/us/albums/1521742168?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music124/v4/3d/e7/33/3de733c4-307f-8c26-6473-165e989cc4ce/20UMGIM53036.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"fdfdfd","textColor1":"0b0c0a","textColor2":"0f1011","textColor3":"3b3c3a","textColor4":"3f3f40"},"artistName":"Aminé","isSingle":false,"url":"https://music.apple.com/us/album/limbo/1521742168","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":14,"isMasteredForItunes":true,"releaseDate":"2020-08-07","name":"Limbo","recordLabel":"Republic Records","copyright":"CLBN, LLC; ℗ 2020 Republic Records, a division of UMG Recordings, Inc.","playParams":{"id":"1521742168","kind":"album"},"editorialNotes":{"standard":"“This is some shit you go and pick your homie up from jail with,” Aminé announces to open Limbo, his second studio album. What follows reflects a wide-ranging version of the Portland rapper—at once introspective and lighthearted, weighty confessionals alongside freewheeling levity. It effectively captures the state suggested by its title, the messy, complicated, and triumphant glory of a quarter-life crisis. Of course romance is the primary recurring theme, because what is the heart if not life's greatest limbo.
\n“Can't Decide” captures the indecision of situationships and those in-between states of maybe friends, maybe more, while “Riri” is a wounded survey of lost loves that manages to not sound wounded at all (and brims with pop culture references to boot). The silken “Easy” is a duet with Summer Walker about making it work even and especially when times are difficult. Elsewhere, he offers a show of maternal gratitude on “Mama” (“You're the only woman in my life who makes me smile,” he croons in falsetto), and conversely, “Fetus” wrestles with the prospect of parenthood and all that comes with it. Album closer “My Reality” pauses to breathe in all that life has brought to the rapper and exhales as a resounding thank-you.
\nOne of Aminé‘s greatest strengths is his versatility; he can effortlessly switch up his flows or a song's mood, going from a frenzied cadence to honeyed singing in a flash. He uses his voice as well as his production choices to build in contrast—nothing is ever too serious or flippant—and it makes for an intriguing listen that constantly pulls at the ear. At its core, Limbo is a searching album that often poses more questions than it answers, but Aminé makes the journey itself its own kind of pleasure.","short":"The messy, complicated, and triumphant glory of a quarter-life crisis."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1525606177","type":"albums","href":"/v1/catalog/us/albums/1525606177?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music124/v4/cc/17/f0/cc17f08a-54c4-fb03-52d2-5df67b6bc460/195081644806.jpg/{w}x{h}bb.jpeg","bgColor":"0a0406","textColor1":"fcd4af","textColor2":"f0c75b","textColor3":"ccaa8d","textColor4":"c2a04a"},"artistName":"Jowell & Randy","isSingle":false,"url":"https://music.apple.com/us/album/viva-el-perreo/1525606177","isComplete":true,"genreNames":["Latino","Music"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"2020-08-08","name":"Viva el Perreo","recordLabel":"Rimas Entertainment LLC.","copyright":"℗ 2020 Rimas Entertainment LLC.","playParams":{"id":"1525606177","kind":"album"},"editorialNotes":{"standard":"“With ‘Safaera,’ Bad Bunny opened a door for us to show a new generation what classic reggaetón was all about,” Jowell tells Apple Music about the YHLQMDLG collaboration with his partner Randy that proved instrumental in redefining the long-standing duo. “Classic” is a word they both use frequently when discussing their uncompromising view of reggaetón as music for the streets with roots in the underground. But another adjective that comes up almost as often is “futuristic.” From that balance between genre loyalty and a desire to move forward, these 14 new songs crown Jowell & Randy as contemporary kings of additive-free perreo. For Viva el Perreo, they recruited some crucial collaborators, including Bad Bunny and star producer DJ Orma, as well as DJ Blass and Don Omar, two pioneers they pay tribute to with the joyful sincerity of fandom. “We represent an intermediate school in reggaetón,” Jowell explains. “It’s not the new school, because there’a a generation after us, but it’s not the old school either, because we still give the likes of Vico C and Daddy Yankee the huge respect they deserve.” Read on as the duo elaborate on their particular journey back to the future, one song at a time.
\nTóxicos\nRandy: “It’s about relationships today, but we wanted to give it a funny twist that would grab your attention. Social media is definitely a factor in toxic behavior. We had never worked with Orma before. He has a very classic swing and a very classic way of doing reggaetón, but he sounds modern at the same time. Bad Bunny wrote the lyrics, which is another first for us. We hadn’t worked with new people for a while. Like we were back in the day, they are a little bit ahead of everybody else. They really helped us to develop this new flow, which we kind of already had, but we needed a jolt from different minds with a different color.”
\nBien Arrebatao (feat. Miky Woodz)\nJowell: “This is a classic-feeling reggaetón track on an album that is quite classic. It goes back to different eras that were really interesting to us and that maybe the new generation doesn’t know too well. To me, it sounds like a throwback to the glory days of Plan B, who have these really sexual, very explicit choruses. Miky Woodz makes it unique when he blends that old-school feel with the freshness of his flow and his lyrics. It’s like a new kind of reggaetón.”
\nPerriando\nRandy: “Here’s another one written by Bad Bunny and produced by Orma. This is the romantic side of Jowell & Randy. The song starts by making you a cozy bed in the middle of all the perreo, with a little piano and a pretty melody. Then it moves into a super banging perreo that you weren’t expecting. That’s where we let go of all the depression and all the tears from the first part and go straight to happiness and success. The lyrics are about moving forward and letting go of the things that are holding you back—your relationship, your friends, whatever it is. It’s also about ourselves and everything we had to get over in this business, all the bad stuff people were saying about us because of how we dressed or the things we were doing. All that stuff, we took it and transformed it into what the genre is today. We’ve been at it for decades now. People like Daddy Yankee or us came out with a sound that a lot of people thought was shit, but we kept going because we had so much faith. Plus this music rescued so many of us from the streets.”
\nSi Se Tiran (feat. Don Omar)\nJowell: “Don Omar was a big favorite when we started out. We grew up in awe of him and we had always wanted to do something with him. We’ve collaborated with pretty much all of the real heavyweights: Daddy Yankee, Wisin & Yandel, Ivy Queen, Tego Calderón, J Balvin, and many, many others. But we were missing Don Omar. He shared a few ideas with us in the studio, and this is the one that we liked best, because it represents the streets, the real reggaetón from the days of Don. This is the Don Omar that we wanted to hear because we are huge fans. The beat is brutal, it appeals to what we call malianteo in Puerto Rico: street life. His lyrics are pure fronting, like ‘we are the best’ and ‘no one can stop us,’ that self-esteem thing. It’s going to be a hit in the street and a hit in the clubs. People have been waiting a long time for it.”
\nHoy Se Chicha\nJowell: “Hoy se chicha is Puerto Rican slang for ‘sex tonight.’ There’s a lot of dirty language in the lyrics, but it sends out a happy message.”\nRandy: “This is like lounge perreo, with a really soft, tasty vibe. We sound fierce on it, rapping hard as if we were doing dembow, but the track itself is very mellow, as if we were on a Caribbean beach with some choice ladies. I like the fact that this showcases the new Jowell & Randy raising up the bar and doing something different. DJ FERMIN produced it and Bad Bunny wrote the parts that Jowell sings. You can tell that there’s more than one mind behind it giving it different colors. Our lyrics, Bunny’s, the beat…it all merges beautifully.”
\nA Mí Sí Me Gusta (feat. Barbie Rican)\nRandy: “‘A Mí Sí Me Gusta’ is reggaetón for 2021, with futuristic sounds and a different swing. Here we take Jowell & Randy’s style and we take the vocals to a new level. We sound young, hungry, with a lot of fire. We loved singing over the beat, which is pretty fast, almost like a Dominican dembow but still reggaetón made in Puerto Rico by Puerto Ricans. I don’t think anyone has ever heard this particular way of rapping and throwing in the verses before. It’s still something you can sing and dance to, but the way we fit the lyrics over the beat is really fresh. When I think of a video, I imagine a very cold place, with icebergs and everything, and us singing in the snow.”\nJowell: “Barbie Rican sings in the chorus. She’s a new artist, but she already has a big following in the genre. This is the first time we’ve done a perreo track with a woman. That’s another one we crossed off the list.”\nRandy: “She doesn’t have the most angelic voice in the world, so she’s exactly what we wanted.”
\nLa Pega Cuernos\nRandy: “This is a song I could have never come up with. I’ve come up with all kinds of things, but nothing like this. It’s really funny. It sounds like a real serious reggaetón, but the story is like a scene out of some comedy. Bad Bunny wrote the lyrics and we recorded it with Orma, same as ‘Tóxicos.’ Here we are riding a very forward-looking beat, with the new kids but staying true to the essence of classic reggaetón. It sounds like a track from the days of DJ Blass, and I like that. There are very few people who can produce for us this way, with the vision that these kids have. This is from the roots; it’s pure, unadulterated reggaetón but taken to a futuristic level, like 2021. It’s DJ Blass for the future—dirty perreo, straight from the streets but classy.”
\nAnaranjado (feat. J Balvin)\nJowell: “‘Anaranjado’ balances the album a little bit. This is a very clubby record from beginning to end, and we needed something more commercial, with a piano and a sweet melody. This is classy reggaetón, the kind that J Balvin does so well and feels comfortable with. The idea came from Keityn, a top songwriter who worked with Arcángel and Sech [on ‘Sigues Con Él’], among many others. We loved it the minute we heard it. I’m happy that we could fit it in such a dance-oriented album. It gives your ears a rest, and it’s something you can enjoy in a different way.”
\nApaga la Luz\nRandy: “Another perreo by Jowell & Randy. Big perreo. Quality perreo. There’s something special in it. It’s heavy reggaetón for the dance floor, for people that like to let loose. It’s the perfect song to see if they installed the right sound system in your car, if you’re going to get the ladies in or you’re just going to make a fool of yourself. At the end you can hear De La Ghetto almost hidden behind the music, and it works as an intro to the next song. This actually started as a long song that we broke in two. The whole record is designed so that one song blends into the next one, like a DJ set.”
\nReggaetón HP (feat. De La Ghetto)\nRandy: “Jowell & Randy and De La Ghetto have never failed on a reggaetón track. Fifteen years later, we still have the same intensity and the same fire. It’s like going back to ‘Triple X’ and ‘Un Poco Loca,’ but with the kids all grown up, a really strong friendship behind us and a proven brotherhood there. That’s what the song means to me: loyalty to what we always wanted to do and have always been proud of, despite the dirty language. This is the shit in Puerto Rico. It’s true-blue reggaetón, and it’s always an honor to have De La Ghetto.”
\nLa Golda\nJowell: “We grabbed part of ‘La Gorda Budusca,’ a Maicol & Manuel song that was on [1994’s cassette-only compilation] The Noise Underground Original, Vol. 1. It’s pure ’90s Puerto Rican reggaetón that we wanted to bring into 2020 with Urba & Rome, who are two of the dopest producers right now. Jowell & Randy is a little bit like an evolution of Maicol & Manuel. Our roots are in that underground era.”\nRandy: “This is my kids’ favorite song on the album.”
\nSe Acabó la Cuarentena (feat. Kiko El Crazy)\nRandy: “Dominican dembow is such a good rhythm, and we wanted to give it that club vibe. Kiko El Crazy is family to us. He represents the new school in the Dominican Republic. That’s something that we always do, get together with new guys to keep Jowell & Randy fresh as well as to show our support.”\nJowell: “We recorded the song to celebrate the end of the quarantine, when people couldn’t wait to get out, and now the virus is spreading again and we’re all locked up like before. Sometime soon people will dance to it in the clubs and celebrate. That’s for sure.”
\nLatigazo\nRandy: “This is another one to test the subwoofer in your car, to turn the stereo up. The lyrics are about fighting everything that gets in your way.”\nJowell: “Like ‘La Golda,’ this one was produced by Urba & Rome. We had always wanted to work with them because they are some of the best in the genre. It’s one of my favorites, with killer bass and everyday street stuff in the lyrics.”","short":"The veteran duo update their reggaetón essence for a new generation."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1519119832","type":"albums","href":"/v1/catalog/us/albums/1519119832?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music113/v4/d5/6e/73/d56e733b-4c4c-d452-1858-39be882947a7/20UMGIM46699.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"04080c","textColor1":"efe3e8","textColor2":"e1bfa3","textColor3":"c0b8bc","textColor4":"b59b85"},"artistName":"Immanuel Wilkins","isSingle":false,"url":"https://music.apple.com/us/album/omega/1519119832","isComplete":true,"genreNames":["Jazz","Music"],"trackCount":10,"isMasteredForItunes":true,"releaseDate":"2020-08-07","name":"Omega","recordLabel":"Blue Note Records","copyright":"Blue Note Records; ℗ 2020 UMG Recordings, Inc.","playParams":{"id":"1519119832","kind":"album"},"isCompilation":false}},{"id":"1526031437","type":"albums","href":"/v1/catalog/us/albums/1526031437?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music124/v4/24/b7/1b/24b71bab-67bb-5db7-feca-a5a32dde6211/20UMGIM66717.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"fb8a14","textColor1":"000000","textColor2":"3e120b","textColor3":"321b04","textColor4":"632a0d"},"artistName":"DaBaby","isSingle":false,"url":"https://music.apple.com/us/album/blame-it-on-baby-deluxe/1526031437","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":24,"isMasteredForItunes":false,"releaseDate":"2020-08-04","name":"BLAME IT ON BABY (DELUXE)","recordLabel":"South Coast Music Group/Interscope Records","copyright":"South Coast Music Group/Interscope Records; ℗ 2020 Interscope Records","playParams":{"id":"1526031437","kind":"album"},"editorialNotes":{"standard":"When BLAME IT ON BABY first arrived in April 2020, it was a beacon of normalcy for rap fans who’d spent the better part of 2019 enjoying DaBaby’s husky and endlessly energetic flow as displayed on two separate projects of his own and countless guest spots for peers. Four months later, BLAME IT ON BABY (DELUXE) refreshes that feeling by way of 10 new songs added to the 13 of the original. Across them, DaBaby is rapping excitedly—as he is wont to do—but also singing in a way that may surprise even longtime fans (“TROUBLE” and the Young Thug collaboration “BLIND”). Along with Thugger, DELUXE features guest appearances from Billion Dollar Baby affiliates Stunna 4 Vegas and Rich Dunk, along with maybe the only other MC of the era to travel as far down the road to rap stardom quickly as DaBaby has, Gunna.","short":"One of the biggest rap albums of 2020 gets 10 new tracks."},"isCompilation":false,"contentRating":"explicit"}},{"id":"1520483093","type":"albums","href":"/v1/catalog/us/albums/1520483093?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/1e/75/cc/1e75cc40-960d-daf1-a224-66f85d117968/5056167125587_1.jpg/{w}x{h}bb.jpeg","bgColor":"0f1428","textColor1":"f2a83c","textColor2":"35a0fe","textColor3":"c48a38","textColor4":"2d84d3"},"artistName":"Liv.e","isSingle":false,"url":"https://music.apple.com/us/album/couldnt-wait-to-tell-you/1520483093","isComplete":true,"genreNames":["R&B/Soul","Music"],"trackCount":20,"isMasteredForItunes":false,"releaseDate":"2020-07-31","name":"Couldn't Wait to Tell You...","recordLabel":"In Real Life Music","copyright":"℗ 2020 In Real Life Music, distributed by AWAL","playParams":{"id":"1520483093","kind":"album"},"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":"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":"1523964228","type":"albums","href":"/v1/catalog/us/albums/1523964228?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music124/v4/82/90/55/82905524-770c-4708-ae8b-dd5221e39b4d/20UMGIM60768.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"24181c","textColor1":"f27a18","textColor2":"ff5909","textColor3":"c96619","textColor4":"d34c0d"},"artistName":"Logic","isSingle":false,"url":"https://music.apple.com/us/album/no-pressure/1523964228","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":15,"isMasteredForItunes":true,"releaseDate":"2020-07-24","name":"No Pressure","recordLabel":"Def Jam Recordings","copyright":"℗ 2020 Def Jam Recordings, a division of UMG Recordings, Inc.","playParams":{"id":"1523964228","kind":"album"},"editorialNotes":{"standard":"Sir Robert Bryson Hall II announced his retirement via Instagram like this: “It’s been a great decade. Now it’s time to be a great father.” While the birth of a child (“Little Bobby” was introduced to the world in a subsequent post) can inspire a new parent to work even harder than when childless, the artist professionally known as Logic has earned a break. No Pressure, his sixth studio album, arrives following a tear that began with 2014’s Under Pressure. This latest and alleged final effort is executive produced by NO I.D., the man responsible for the sound of Under Pressure and the person Logic credits with the bulk of his artistic development. If the two coming together one last time means anything for longtime Logic fans, it’s that they get the most polished and well-rounded version of their favorite MC, touching on how far he’s come as a rapper (“Celebration”), his faith (“Hit My Line”), and the handling of his successes (“man i is”) across the project’s 15 tracks. Clever bars come first here, as they always have—“I’m too alive like twins in a womb,” he raps on the title track—and he’s largely unsentimental about walking away. Around the same time he announced his retirement, Logic also revealed an exclusive deal with the livestreaming platform Twitch, so even if he isn’t focused on making music, it’s unlikely that we’ll ever really have to live without Logic.","short":"Young Sinatra exits rap, leaving behind a memento of what we’ll miss."},"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":"1520263558","type":"albums","href":"/v1/catalog/us/albums/1520263558?l=en-US","attributes":{"artwork":{"width":3334,"height":3334,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music113/v4/83/c0/d5/83c0d54d-5e76-28eb-12b5-10de219b8652/3615935103435_1.jpg/{w}x{h}bb.jpeg","bgColor":"282a29","textColor1":"fefefe","textColor2":"d5d7e5","textColor3":"d3d3d3","textColor4":"b2b5c0"},"artistName":"Loyal Lobos","isSingle":false,"url":"https://music.apple.com/us/album/the-fall-ep/1520263558","isComplete":true,"genreNames":["Contemporary Folk","Music","Singer/Songwriter","Pop"],"trackCount":5,"isMasteredForItunes":false,"releaseDate":"2017-07-20","name":"The Fall - EP","recordLabel":"Loyal Lobos","copyright":"℗ 2018 Loyal Lobos","playParams":{"id":"1520263558","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1522144814","type":"albums","href":"/v1/catalog/us/albums/1522144814?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music124/v4/30/f1/95/30f195b4-e227-ae3e-1996-3ef5ce59786c/cover.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"1a1618","textColor2":"322c28","textColor3":"474446","textColor4":"5b5653"},"artistName":"Various Artists","isSingle":false,"url":"https://music.apple.com/us/album/paul-institute-summer-2020-ep/1522144814","isComplete":true,"genreNames":["Electronic","Music"],"trackCount":6,"isMasteredForItunes":false,"releaseDate":"2020-08-04","name":"Paul Institute - Summer 2020 - EP","recordLabel":"Paul Institute","copyright":"℗ 2020 Paul Institute","playParams":{"id":"1522144814","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1520370274","type":"albums","href":"/v1/catalog/us/albums/1520370274?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/39/88/94/39889493-6af0-1aa2-51a8-77c349b38771/20UMGIM35072.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"400823","textColor1":"f48083","textColor2":"e9706e","textColor3":"d06870","textColor4":"c75b5f"},"artistName":"Max Richter","isSingle":false,"url":"https://music.apple.com/us/album/voices/1520370274","isComplete":false,"genreNames":["Classical","Music","Contemporary Era"],"trackCount":50,"isMasteredForItunes":true,"releaseDate":"2020-07-31","name":"Voices","recordLabel":"Decca (UMO) (Classics)","copyright":"A Decca Records Release; ℗ 2020 Universal Music Operations Limited","playParams":{"id":"1520370274","kind":"album"},"editorialNotes":{"standard":"Adopted by the United Nations in 1948, the Universal Declaration of Human Rights proclaims the sanctity of human dignities, freedoms, and well-being. If, today, it remains a far-off destination, its values continue to guide and inspire. Max Richter’s Voices is a beautiful sonic journey through the Declaration’s principal ideas, combining resonating soundscapes with passages from the document. These appear first in a recording by one of its authors, Eleanor Roosevelt, and are then narrated by actor Kiki Layne, with fragments echoed in more than 70 different languages—each voice crowdsourced via social media. The whole project was 10 years in the making. “The original impetus for Voices was the events around Guantanamo, when the revelations came out about the way people had been treated there,” Richter tells Apple Music. “I felt in that moment that the world had gone wrong in a new way, and I wanted to make a piece of music to reflect on it—almost to process it.”
\nThere’s a structure and repetition to the Declaration that appeals to Richter, providing a framework for the album. “The way the word everyone comes back all the time is very clever,” he says. “It’s got a ritualistic quality—it’s very powerful.” At the core of Voices lies a string orchestra that’s “upside down” in terms of its proportions. “It’s all basses and cellos—dark-sounding instruments,” says Richter. “But what I wanted to do is make music which had a sense of hopefulness, luminosity. So I set myself a challenge to make bright music from dark materials. It’s like alchemy—trying to make gold out of base metal.” A “Voiceless Mix” of each piece means listeners will also be able to hear Richter’s score without narration. “It’ll be a chance to think about it all,” he says, “like revisiting a landscape but arriving from another direction.” Here, he guides us through Voices, piece by piece.
\nAll Human Beings\n“All Human Beings sets everything up. It starts with a choral drone, which makes you listen—we have to pay attention to the texts, and I don’t want the music to get in the way of them. So the sound is very reduced and drone-like while we hear readings by Eleanor Roosevelt and Kiki Layne. Then it slowly grows in density and complexity. Once the readings are over, the music blossoms to become something in itself, rather than an accompaniment. I’ve worked a lot with this choir, Tenebrae. They specialize in Renaissance music, and I love that clean sound.”
\nOrigins\n“A big part of this project is the idea of a piece of music as a place to think about the world we’ve made and the world we want to make. So the first part of Origins is really just that—a chance to reflect on what we’ve just heard, the spoken texts, and the things we’ve just felt. Origins starts very simply as a solo piano piece and, with a solo cello, becomes more melodic as it progresses.”
\nJourney Piece\n“Journey Piece is mostly choral—it’s quite a short piece. But it speaks to the concept of displacement. In our comfortable Western lives, we think of travel as being something you do for work or pleasure. But a lot of people travel very much against their will. The texts here reflect on these things, and Journey Piece is a place to think about them.”
\nChorale\n“Chorale is scored for the orchestra with soprano and violin solos. The title comes from the cyclical nature of the material, echoing the verse structure of J.S. Bach’s chorales. Over its span, the music and the soprano line rise continuously, so the intention is that the music gets brighter the longer it plays.”
\nHypocognition\n“Hypocognition means not being able to express something because you don’t have a name for it. I thought that was an interesting idea. And I think it points to the inability to be in someone else’s shoes, to see someone else’s point of view. The piece is largely electronic and has a conversational relationship with the text. The text is, in a way, the data or frontal-lobe information. And the music evokes the feelings. So, you’re given some information and then given a space to think about it.”
\nPrelude 6\n“‘A little piano piece which seems simple but isn’t. And I think that’s a metaphor for our situation. We all know what the problems are, but it’s not easy to fix them. The piece is in two overlapping time signatures, so it has a slightly unsettled quality.”
\nMurmuration\n“Murmuration explores again the idea of migration, of movement against your will, and it occupies a hybrid space between acoustic and electronic music. The sounds are mostly choral, which evoke a sense of ritual, but there is a lot of synthesis and computing going on, which provides a kind of amniotic fluid for the music to inhabit. It just floats in this space.”
\nCartography\n“Cartography is the art of mapmaking, the study of places, so the piece has similar preoccupations to Murmuration. It’s a very solitary kind of piece, though, and it sits within a deep silence. Again, it’s a piece that’s not as simple as it sounds—it’s irregular and repetitive and is very much in the style of a lot of my piano music.”
\nLittle Requiems\n“The text here is all about motherhood and children, and the need to afford them protection. The less able somebody is, the less they’re able to look after themselves. And, of course, children are disproportionately the victims of everything that’s going on, whether it’s migration or the situation in Syria, for example. It affects the powerless disproportionately. The music here features the string orchestra underneath a rising soprano solo, which allows you the mental space to think about that and the sampled texts.”
\nMercy\n“Mercy is scored for violin solo and piano, and was the first piece I wrote for the album. The title comes from Portia’s speech in Shakespeare’s The Merchant of Venice: ‘The quality of mercy is not strained.’ It’s a wonderful speech, all about forgiveness. But it’s about rights, too—if you cut me, do I not bleed? The message is that all people are the same. All through Voices, you’ll hear little clues of Mercy, so the whole album ends up being a sort of theme-and-variations in reverse.”","short":"“I set myself a challenge to make bright music from dark materials.”"},"isCompilation":false}}]},"room":{"data":[{"id":"1457265761","type":"rooms","href":"/v1/editorial/us/rooms/1457265761?l=en-US"}]}}},{"id":"1228324231","type":"editorial-elements","attributes":{"featureFirstElement":false,"type":"normal","supportedSorts":[],"emphasize":false,"displayStyle":"compact","editorialElementKind":"326","doNotFilter":false,"name":"Beats 1 Interviews"},"relationships":{"contents":{"data":[{"id":"1526326678","type":"uploaded-videos","href":"/v1/catalog/us/uploaded-videos/1526326678?l=en-US","attributes":{"uploadDate":"2020-08-04","contentRatingsBySystem":{},"artistName":"Troye 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